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LYRA GRAECA
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SAPPHO

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FROM A Fitih CENli^RY KYLIX
BY SOTAOSr. /V THz BRITISH MUSSTUM

LYRA GRAECA
BEINC;

rHE REMAINS OF ALL THE
^M EUMELUS
NG PINDAR

(IREEK LYRIC POETS
TO TIMOTHEUS EXr

*

NEWLY EDITED AND TR.i^SLATED BY

jc

M? ed:monds

LATE FELLOW OF JESUS COLLEGE CAMBRIDGE

IN

THREE VOLUMES
VoLrME

I

.

ixcluding

Terpander Alcman Sappho and Alcaeus

LONDON WILLIAM HEINEMANN
P. PUTNAM'S
NEW YORK
SONS
:

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MCMXXII

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IMA0HTPIA12

2Y1MMA0HTH2

.

thanks mainly to the work of the Egypt Exploration Fund and similar societies. tlie MeHc Fragments. Many scholars and to say this is not to depreciate a great work for such things depend on the point of view must liave found Bergk kicking in two respects. the Fragments alone are not enougli. First. The last forty years. unlike Bergk. vii . — . when so Httle is known of tliese jji^eat fio-ures of antiquity. In all places where the text adopted would otherwise be misleading I have given critical notes.— PREFACE SixcE the ap[)earance Thcodor Bergks Poetae of the foiirth edition of thev form the third voliime. all that Httle has value for us if tliey are to seem things of flesh and blood and not the mere subjects of a lesson in translation. and a new edition lias been long overdue. I have therefore incUided. go some way to supply the want. the chief passages of ancient Hterature which throw Hght on the Hfe and personaHty of the poets and their literary reputation in antiquity not making an exception of Sappho for tlie clear-drawn self- — . I hope. have added very notably to our slender store. the Lyric Fragments. and it contains all Lijrici Graeci. With the single exception of Sappho's. My book will. have not been pubHshed complete. \n ^vhich that is really necessary by way of exegesis. save only where I have ab-eadv discussed the reading in one or other of the classical periodicals. It is complete in the sense tliat its sole omissions are fragments which have only palaeographical value. or as they arc more accuratcly called.

and all where he finds ' e.PREFACE portrait she gives us iii her Fragmeiits is so precious that its very frame is of surpassing interest. clearly understand that in many cases wliere he finds square brackets. in nine cases out of ten they want explanation. Simihn* are only approximations to the truth. These restorations.' and a vertical Hne. Bergk appears to liave regarded the contexts as a necessary evil^ and has not only relegated them to the footnotes but has made them less useful than they might have been by cutting them as short as he possibly could. viii . Secondly^ if these mere quotations are to have more than linguistic interest. To these Lives I have added the ancient accounts of such early poet-musicians as Olympus and Thaletas. tliough they are far from being mere guesses.' or ' e. feature peculiar to this edition is the inclusion of a considerable number of restorations made exempli gratia of passages preserved only in paraphrase.g. he is deaHng with restorations which.g. I have thouoht it better to orive full contexts in the body of the page^ printing them^ however^ in small type so that the reader may the more easily omit ' them A if ' he will. A dot placed beneath a letter means that that letter is a possible interpretation of the traces. are mainly my own. and in at least five of those nine tlie explanation may be had from the context in which they are found. partly to serve in some sort as an introduction to tlie subjectj and partly in order to avoid creating the impression that only the poets of whom some work is extant are of any importance to the student of Greek poetry.. as w^ell as tliose of the new FragThe reader should ments. warnings are sometimes conveyed by dots and pointed brackets.

Siiggestions are rejected ^vhich. TO before ydp. when they do. dialect and sentiment. consists of the tracing of letter-groups Brictly. to exceed or fall sliort of the requirements of the gap and where the ga]) is bounded on the left by an imaginarv marginal Une. threc in — line 3.PREFACE a pointed bracket indicates tliat tlie letters witliin The it are not or cannot have been in the MS. In the hrst hnes of Alcaeus '11 . One instance must suttice. and when they are made the result must be not onlv a jiassage satisfactory in metre. grammar. are shown. \vhen traced oiit by this method. AI of TrptoJTa. at the way in wliich it reduces the possibiHties.' Schohirs who liave not tried this method will be surprised. I sliould add liere that . i)ut something which Alcaeus might have written. with all reasonable allowance made for variation in the size of the letters and the spaces between them. emendations and restorations for wliich I beheve \n the notes.so far as I have found it j)racticable my work on the new Fragments is based ix . and one in line 4. nivself to be resj)onsible are marked All restorations have been checked where possible by a palaeograpliical method exjikiined and exempli- K fied in varioiis articles in the periodicals. — 2. and IC of uAAjat?. AU these supplements must corresjiond in written length not only with one anotlier but witli any suggestions made for the four subsequent lines. come immediately under one another. from it piioto- graphs of the extant portions of the papyriis or velhim MS. tlie letters A of 7rat]So)i'. Metre requires iwo supplementary svllables in lines 1 and . all suggestions are made to correspond again with all reasonable allowance made in what I mav call for convenience ^written length.

Hartung.^ Schweighauser. Benseler. including those to whom we are indebted for most of our knowledge of these poets and their Avorks. Volger.— PREFACE on the actual MSS. - lilf.Boissonade^ Brunck^ Cobet. \^oss. emended. Hecker. Cramer. My obhgations to these^ as to other recent and hving scholars. Kaibel and U. and the Directors of the Bibhotheque Nationale and of Graz University. MattliiaCj Meineke. I Grenfell. J. Bentley. Neue. Kock. O. Hermann. footnotes. And I gratefully acknowledge the help and ploration Fund rhynchus 1 /.'* Seidler. Muller. . for siipplying me with photographs of papyri and other MSS. Fragments W. Schubart. Welcker. and to the Council of the Egypt Exthis can . and interpreted the Fragments^ next to Bergk^ and those on whom he drew Ahrens. Wolf owe most to E. Among the modern writers who have collected. are indicated in the notes. S. . A. Bekker. Hunt. » Sclnv. Schneidewin. von WilamowitzMoellendorff. where I have used only photographs the results should be taken as still requiring corroboration. Keil. Nauck. the arrangement of the editions current in the later antiquity but it must not be understood as certainly reproducing it. in their care. P. Bassi. The arrangement of the Fragments follows^ where be inferred. Reiske. Harrower. — for allowiiig me to print tlie Oxyto D. I must here record my thanks to the Director of the British Museum for permission to reproduce the Sotades vase. I have added a separate index of the ancient authors. Blomfield/. Cross-references to the numerations of Bergk and Hiller-Crusius will be found on page 431. Gaisford. The latter cases are indicated in the . Porson. • Schn. Ursinus.

H. 35 the proverb sliould be in this corrcct. E. and that Volume III. the scholar will fmd much of what he requires in O. will be found corrected in the Indexes. G. modern. includes Stesichorus. the Folk-Songs. which is in preparation. H. of which the worst is Alexandridcs for Anaxaiidridcs on pp. A few not quite obvious errors. the Scolia. A. I cannot hope that the many references book are quite exhaustive. J. xi . S. and Simonides. Wace. Bacchy- Timotheus. J. The omitted fragments of merelv palaeographical value will be found in the Papyrus Collections Oxiirhijnchus. The earlier history of the text has been ablv worked out by Wilamowitz in the works mentioned in the Bibhoorapliv. Societd Italiana. the Anacreontea. B.e. Hicks. D. and the Adespota. will include Corinna. C. tradition when the authors concerned run into the sixties is a formidable affair. I. It will perhaps be in useful to the reader to know tliat Volume II. For the most important. with an accoiint of lides. Anacreon. Campbell. 1921. In the translation of Sappho fr. Ibycus. Rackham and A. Bcr/iner Klassikeriexte. Bell. HaJle. Cambkid(. Adam^ H. M. Greek Lvric Poetrv. and Biit I have done my best to make them so. Cook. 100 and 101.— PREFACE eiicouragement I have received from Mrs. But it should be borne in mind tliat statements on the Aeolic metres and dialect published before 1914 may need modification. and would be bevond the scope of tliis book.. Pearson's Fraguicnts of Sophocles. Hoffmann's Griechische Dialekte and in the introduction to A. square brackets. An account of the MS. R. Dtceniber'22. whicli is ah-eady in the press.

.

CONTEXTS rxoE rKEFACE vii SELECT BIBLIOGKAPHY XV PREFATORY EPIGRAM 2 OLYMPUS 4 ^ EUMELUS LIFE 12 FRAGMENT 14 : TERPANDER : 16 LIFE FRAGMENTS 30 THALETAS 34 POLYMNASTUS 38 ALCMAX LIFE : 44 POEMS AND FRAGMENTS BOOKS I AND BOOK III. FOURTEEN-SYLLABLE For eaily poets sucli as . ARION SAPPUO 50 126 136 LIFE : 140 POEMS AND FRAGMENTS BOOK I.s] . [OTHER CHORAL FRAGMENT... . BOOK VI. BOOK V.. .. II.. SAPPHIC ELEVEN-SYLLABLE : BOOK 1 II. 182 218 Orpheus see note on page 10 xiii . . BOOK IV. : MAIDEN-SONGS .. LOVE-SONGS 80 118 DRIXKING-SONGS 122 [OTHER MONODIC FRAGMENTs] .

. 260 . BOOK II. BOOKS IX AND X. . lonic and kindeed metres and trochaic lambic . BOOKS III BOOK V BOOK VI. glyconic and kindeed metres 238 book vi. INDEX OF FRAGMENTS RESTORED FROM PARAPHRASES .CONTEXTS ' SArPHO : POEMS AND FEAGMENTS {continuccl) PAGE (gKEATER BOOK III. . DRINKING-SONGS . : HYMNS 316 AVAR-SONGS AND IV. 332 POLITICAL SONGS . BOOK VIII. book ix. . book vii. tavelve-syllable (lesseii asclepiad) 234 book v. SIXTEEN-SYLLABLE : 230 asclepiad) ALCAEUS : BOOK IV.. 342 372 FRAGMENTS [UNCLASSIFIABLE OF A GENERAL TYPE] 372 LOVE-POEMS 394 ENCOMIA 402 . TABLES OF COMPARATIVE NUMERATION INDEX OF 'new' POEMS AND FRAGMENTS 414 431 . book viii. 442 442 INDEX OF AUTHORS 443 GENERAL INDEX OF NAMES 451 XIV .. BOOK VII. 270 dactylic 276 epithalamies 282 308 LIFE POEMS AND FRAGMENTS BOOK I. ..

Clrisncal Qnaricrly. SELECT BIBLIOGRAPHY Thcodor Bergk Pocfae Lyrici Gracci Leipzig 1882 vol. praetcr Pindarum reliquiae x>otiorcs Leipzig 1903 select text with a few critical notes contains no new fracrments G. 0. von L'. III (reprinted Avithout correction 1914) . C. {2) SappJio und Simonides Berlin 1913. etc. JaJircsbericht uhcr die Fortschritte dcr J:Ia. H. Crusius AntJwIogia Lyrica sive Lyricorum Graccorum vetcrum. Wilamowitz-Moellendorff (1) Tc. Metre^ A. etc. and various articles by the editor of this edition in the Classical lievicw. .vtgescJiicJUc dcr Lyriker Berlin 1900 historj' of the text. (3) GriccJiische VcrsJ:unst Berlin 1921 a studv of Greek griccJiiscJien . to illustrate the dialects) Weir Sniyth GrccJ: Mclic Poets London 1900. Fragments of Sophocles Cambridge 1917 introduction on the sources and their MSS ' ' . . . Sitzler in Buisian (Kroll). notes. and Cambridge Philological Socictys Proceedings froni 1909 to 1922 1 These reacbed jne too late first for me to iTofit bv tlieni in prepaxing niy volunie XV .^ Ahacus. and bibliography Hiller and 0. J. . E. 1907.ssischc. J. 1919. W. Farnell GrccJ: Lrjric Poetry London 1891 select text with introdiictions and notes Hoffmann Die GricchiscJwn DialeJcte in iJirem JiifitoriscJicn ZusammenJiange mit der vicJUigstcn iJxrer QucUen Gottingen 1891-8 select text of certain authors with contexts and critical notes (used with inscriptions. Pearson TJi".n Altcrtu. Pauly- Wissowa RcoIcvcyJ:lopadic under Jlcman. SappJio. various articles on certain of the Lyric Poets and their works.msvissenscJiaft 1900. Mackail Lectures on GrceJc Poetry London 1910 See also Oxyrhynchns Papyri I (1898) and X (19M).. text xvith contexts and Latin notes 8. select text with introductions.

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LYRA GRAECA VOL. . i.

ral.^ line 4 Jalin Ka-n€Tois 'irrigationline 10 Mcin niss 4aTrdaaT€ : . 6 i]\v /jLe\el<s dpxh^ t' 'AAKMAN02 oi XvpLKTj'^ Kal Trepa<. ijSv re UeiOov^^ "IBYKE Kal Traihcov dvOo<. 184 ditches' perhaps riglitly 2 di/hove^. 'AAKAIOIO to 7ToXXdKL(. ypa/jL/jLa r 'ANAKPEI0NT02. Kal XaXe %eipi]v BAKXYAIAH. re 2IMI2NIAEft jXvKepi] aeXi<. d/jiijadfjieve. 'Ofiy/pLKbv 09 t' airo pevjbba 7. al/ia rvpdvvcov kaireiaev 7rdTpi)<. ^ Anth...niNAAPE ^lovaciwv iepov aro/ia. Oea/xia pvo/ievov. Kai ^i(f)o<. ecTTTaaa^ olKeioi^ 2TH2IX0P' iv Ka/idToi^. 2An<l>0Y2 t XloXihes %a'/9tT6?. irdai]^ eaTaaaTe. 0. TkaTe.

571 (p. Stksichorus . 165) selections .\eHKo\ wrote. the deheious scroll of Simo\ii)Ks^ Ibvcus «ratherer of the bloom of Persuasion and of lads.Tliat holy nioutli ot" tlie Muses Pindar. 'J. . the sword Alcaeus used. Ivrie sonir. whose Avork was fed from the stream of Homer .^ * Palatine Anthology : proljaMy the iiiotto foi. tliatsweetly jnattliug Sireii B \(( n^ lidks.a book of from the Nine Lyiic i'oets cf. those Aeoliau Ciraees of Safpiio tlie l)ook A\. to shed tyrant blood and save liis eountry's rights^ tlie maiden-tunt-d ni^^htingales of Alcman I })ray you all be gracious unto me. ye that liave estabhshed the beginning and tlie ending of all .

but are included here . yap TrathLKa 'yevo/ievo^ ^lapavov Kal tj/v avKi/aiv /jiaOoiv TTap avTov tov<.s of this name. elT "OXvpbirov. 5 ^AX6^av8po<. yevopevov /xa6i]Tov ^0\v/iirov.vvaywyfj TMV Wep\ ^pL^yta? KpovfxaTa' OXvfiirov e(f}i] Trpcorov ei9 Tou^' EWtjva^ Kopiaai. 7rpoeip7]/jievov ^pv<yia<i. iv Tai<. vo/iov^ tou9 appoviKov<i e^)]V6<yKev et9 Tr]v RWciSa.- Se \cova Tov Ka\ovfjL6vov Ylo\vK€(f)a\ov' Tov "0\v/JL7rov TovTov cjiaaLV <€Vioi>^ eva tcov airo Tov TvpcoTOv ^0\vp7Tov Tov ^lapavov TreTrottjKOTO^i et9 TOi/9 Oeov^ Tov<^ vo/JLOvs' ovTO<. av]Ti]v ovTa tojv ck iroirjaai vofxov av\r]TiKov et9 'AttoA. ^0\v/nTov cf)7]alv elvai tov vecoTepov tov vo/lov 1 E 1 in ancicnt times there was some confusion between the Both seem to elder and younger musician. eVt Se /^al rou^ ISatof9 ^aKTi>\ov<. 8' eV rrj 'S. ecTa tov TovTov VLov ^iapavav.OATMnOT Bt09 Mus. Ibid. 7 [tt. eopTai^. Plut. av\(pBiKcov vo/ncovy \e<y€Tat yap tov "O\vfi7rov. oi<.T09 elvai <^aai tov TIo\vK6cf)a\ov vo/ioVy 6 he T[paTiva<. havc been musicians pure aud siniplc. vvv ')(pMVTaL oi eivai " Ej\r]ve<.'' Tayviv 8e irpoyTOV avXrjaaL. to)v Oeoov. dWot 8e KpaT?.

introduced the musical nomes . not for flute and voice as ahove . wlio was succeeded l)y Olympus. and Itarnino. who composed the nomes to the Gods. is said by some authorities to have been a descendant of tlie first OlymjHis. According to another account^ however^ the Many-Headed nome is the work of Crates a pupil — ' of Olympus. — where they are now used at the festivals of the Gods.into Greece. however. Same We nomes '] are that tlie Olvmpus of wliom mc spoke just now.to hini was Hyagnis. flute-plaving of liim. son of Marsvas. Tlie Harmatian because the devclopment of Grcek l^Tic poetry is hardly separable in its early stages froni that of Greek nnisic ^ i. wlio was folloM ed by liis son Marsyas.to ApoUo which is known as the Many- The : [on lyre-suno. a flute-plaver from Phrvgia. Tliis Olympus. composed a flutenome . ' : told Headed.OLYMPUS LlFE^ Plutarcli On Music. Alexander in his CoIhTlions on was introduced into Greece by Ol^nipus and by the Idaean P//n/gia declares tliat instriiiiiental miisic Dactyls or Priests of Cybele.e. a certajn type of air for the llute alone. Tlie first flute-player accordino. This earher Olympus was in his bo}'hood afavourite of Marsvas.' thouiih Pratinas dechires it to be the work of Olympus tlie Second.

evpeT7]<. aTTTeaOat. tot6 fiev «Tro t?}? Trapafieai]<. totc 8' UTTO tt}? fieai]^. 15 "OXvfiTTOV ydp TrpcoTOv ^AptaTo^evo^. avveaTr]KO<. koI Trapa^aivovTa T7]v StdTOvov Xf^^avov KaTapaOetv to KdWo^ tov ^j^ou?. . Tive<. . Plut. evapfjLovicov TotavTa av^i]aa<. TXavKov ^Avaypa<pi]^ vvrep tcov r/}? YlotrjTMV fidOoc dv ti? viro Mucrco^ evprjaOai tovtov Ap)(^aL(ov . €fc t/}? . yeyevrjaOai' Ta ydp irpo eKeLvov TrdvTa SidTOva Kal ^pcofiaTiKd r]V. fxov- Bt] tt]v dp')^!]^ Ti]<. vofio<. yeveadat Ibid. 3///^. iv Tcp TTpcoTcp TTepl XlovatKy]<. Kal dp)(i]yo<. dp-^aiov^ av]Td<. t?}? '^IKKr]vtKi]<. 11 "OXuyLtTTO? VTroXafjLJSdveTaL vtto Se ^ApiaTo^evof. 7roWdKi<. (pTjaiv.LYRA GRAECA TOVTOVy 70V Se KaKovfJLevov 'Apfidriov vofiov Xeyerac TTOLTjaac 6 Trpcorp^. dXXoi Se . avTw Ta (^aiveTai tm dyevi^TOV tl irpcdTa 3' tmv "OXu/xtto? koI dyvoov- fievov VTTO Tcov efiTrpoaOev elaayayelv. 'EXX7]vtKp]<. tov vofiov yeyovevai ydp Tiva^. 29 avXi]aat AvhiaTi. oTt 5' iaTLV ^OXvfiirov 6 'ApfidTio<i . avaTJffia OavfiaaavTa Kal diroSe^dpevov ev tovtco Troieiv eTTL Tov Ao)pLov Tovov 0VT6 ydp TMV Tov Siarovov ISicov ovTe TMv Tov ')(^pd>fLaTO<.. fiovatKi]v eivat 3' . fiovatKi]<. aXX' i]Sr] TMV tt}? dpfiovia<. iTrl tco TivOcovi (f)i]atv €7rtKi]Setov Ibid.. Kat avTov he tov "OXvfi7TOv iKelvov.. Kal ovTco To €K T>)? dva\oyla<. koX KaXrf<. 6 ^lapavov fiadr}T7]<i. Mucrou?. . 6 . m Te Kal vofitKf]<. vtto- voovai 8e t7]v evpeatv TotavTifv Tivd yeveaOar dvaaTpe^ofievov tov "OXvfLTcov ev tco SiaTovo) Kal Sta/3i^d^ovTa t6 fjLe\o<. "OXi^/atto?. . (i)? tmv fLovaiKcov tov evapfxovLov yevov<. eVl Tr]v StdTOVov 7rapv7raT7]v..

ReaHsing the beauty of this effect. '^ scale. The Same : The Olympus who originator of art-music in Greece. view is Aucient Poct. Olympus in his astonislnnent accepted the principle for the whiole system. . On Phitarch Mitsic According to Aristoxenus. . however. Before his time the only scalcs had been the Diatonic and tlie Chromatic. as it is Hrst Olympus. and coinposed in it in the Dorian mode/ rejectiiig all intervals pecuhar to the Diatonic or Chromatic scales and concerning' himself directly witli thc mode.s. is . lield. called. made Greece. The Same \Ve aretold by Aristoxenus in the first Book of liis Trcalisc ou 3//M7cthat the first flute-phiyer to use the Lydian mode was Olympus in his Lament : for tlie serpent Python. * is is reputed tlie considered to the dash indicates a qiiarter-tone . . : Enharmonic Olympus. . It . tlie . Mysia having produced flute-players in ancient times. by some Harmatian nome was a Mysian writers that tlie invention. Such was the origin of his omitting G.OLYMPUS LIFE OF is reputed the work of the pupil of Marsyas and this suj)ported by (ilaucus in his Accoioit of thc nomc. It is clear that Olympus a real advance in music by introducing an entire novelty. and was the fatlier of good nuisic in Enharmonic . . The invention is supposed to have come nuisicians ascribe the invention of the scale (EEa^ABirCE) about thus : i to In descendin^ in the Diatonic scale his melody frequently passed from B or from A to F.

Kal pvOp^oTroiia^ tw ynp pe\o- eyevvtjaev eirl 7Tpoa](f>deLai]<i ^'6p(p' p^i^^dev' Te)(inK(f)^ Be p. 18 €)(ovTe<..7rov yelov CKaaTOV tov Ka\ vop. ft)9 pLijheva hvvaaOat pnptjaaaOai TOV ^0\vpL7T0V Tp67TOV. Tcoz^ ap)(^aLcov Plut.LYRA GRAECA aTToStSoaai.7rov Kal Tep^ravSpov Kal ol Trepl dKo\ovd i]aavT€<. 33 olov 'OXu/xTTW To evapfjLoviov yevo^. e^^ei.apTvpei yovv Ta ^O\vp7T0V Te Kal TepTrdvBpov 7T0i)']/iaTa 6\iy6Kal TWV TOVTOi<s 0p.€VOV^. to rjdo<. 'A/3e&>9 K€)(^pr)TaL €v "OXvp.. VaTepi^€iV Se TOVTOV TOV<i eV T(p 7TO\v)(6pB(p KUi Te 7TO\VTp67T(p yiyvop. o ttoWm cS eviOi he Kal Tol<^ ^\i-jTp(pOL<^' c5 5' p^eXojv otl TavO' ovt(o<.o'^. ^(opha ^ ydp ovTa Kal d7T\d Sia^pepei twv 7TOiKi\(ov Kal 7To\v)(6ph(t)v. ovk d^reipa)^ ol Tfj tovt(i)v 7ro\v)(opSiav t€ Kal Trpoaipeaei TrepteTXov 7T0iKi\Lav- p. Mus. Trfv 7ra\aiol Se 7rdvTe<. Ibid. evappLoviov y€vo<. t6 t€ cn-j<^ Tov t/}? apiiovLa<^ yevo^ i^evpelv Kal Tojv puOfiMV Tov Te TrpoaoBiaKov ev (f)a(Ti.€Ta\i](pd€VTo<^ Tov pvOpov povov avTOv Kal yevop^evov Tpo^^alov dvTi 0\vpL7rov avveaTi] to 7raLa)vo<.? ^Adi]vd^ T}]<s 7ioiia<. ov ydp Kal dyvoia oXiyo^^ophia^ dyvoiav tmv 7Taao)v 1] oi dpp. aWia avTol<. Kal yeyevrjTai' ovSe Bi "0\vp. ^ 8 Volkmann : niss rplxop^a KaTtt- .oviO)v evLai<^ eypijaavTo' t>}<? ToiavT)]<. aTevo^^wpia^. olovTat ')(opeiov tov ^aKhrjXol evpi-jKevai. eVt ^pvyiov Tovov TeOev TraicdVi eiTi^dT(p TOVTO yap Ti}9 a/^T^T.0i0Tp07T(i)V 7TdvT(OV.

Paeon ' (c»o — 9 . . liave twc) tlie — Take for instance the Enliaremploved bv Olvmpus with tiie Phrvjcrian Plutareh monie Ofi scale Mnsic : mode and the Epibatic Paeon^. It is not througli ignoranee that they confine themselves to employing so few strings. The Baeehius (w ) also is sonietinies aseribed to him. and the Choree [yj o V. The Same Moreover. that tlie style of Olympus remains inimitable and the exponents of the opposite principle have to take the second plaee.S7) o) called 5^u/*tos ov 'i-muiing' (ireek word is inteivled to iiulude tlie so also below ^ftis.^ Thest.jierli. ^ ' " .— LIFE OF OLYMPUS invented not only the Enliarnionic scale hut rhythms known as the Prosodiae ( kj). Though they are quite sim])le and written only for a few strings.statements are borne out by eaeh of the aneient melodies. and tlie effect is completed by tlie use of the Enharmonie scale of Olvmpus.) whieii oeenrs so fre(|Ut'ntly in the tunes used in the worship of Cybelc. tlie ' 8rd or notes tlie stops of the flute . Tliis is clear botli from the works of Olvmpus and Terpander andthose oftlie eomposers wiio belong to the same school. . although tlie ancient poets used only some of the 'modes/ they knew them all.^ or tliat composers hke Olympus and Terpander and their followers denied themselves the use of many strings and the variety whicli that entails. whieli is that of the Nonie of Ares. thev so far exeel the elaborate works written for many. tlie metre beino. : ^ see also l*lut.the eombination whieli gives its character to the opening of tlie Nome to Atliena. 10 (on Thaletas p.merely chanoed in a cunning wav so as to become as it were trocliaie instead of paeonie. Both melody and rhytlnn make their contribution.

tov irepl Tr]v "^vxv^ yOov^ Tra^o? eaTiv. AH. 470. 12. av]TLKov<. Eq. Pol. w Av. 5 [tt. ov)( i]/CLaTa Se Kal Slo. 5. KaOaTrep av. 7 tmv av]TiKa)v v6[xo<. ttw? e^^e^? rt?. twv 6/xo\oyov/jLeva}(i ra? -v/ru^a? ev6ovaLaaTLKd<=. Plat. Mus.- Siiid.. NI. Thamyris. TTOiel ^^pv^. 318 b. See. ad loc. 10. Laivs 3. ind. Luc. Eumolpus... yap TavTa iJLeXoyv. A. o 3' evOovaLaa[Jio<. Min.' KaK^SaL/jLov. 677 b.. Eur. PhihimJVorks mon. av\i]T)]<. Vide Apollod. mlv. Orpheus. 2. Plut. Grceks numhered Olen. MtSof tov TopSiov. 577. KaKO)<. Linus. and Musaeus. 6 fJiV fXV fiv fiv fxi) flV fiV fiv. Chriisothemis. yeyovcof. 4. . 578. eypayjre Se r]v. fxovaLKO<. Hesycli. pa6i]Ti]<. Among lo their earliest h/rir poets the . Kal 6pi]vy]TLK0v<. "0\vfi7ro<. v6fxov<. eirj avTY]<^. Strab. lon 533 b. eVl vecoTepo^. ^vvav\iav K^avacofiev Ov\vfi7rov v6fiov. /. TToWcbv TMV ^OXvfXTTov av S^ Slo. Symp. he "O\vfx7ro<. 1.LYRA GRAECA Arist. . 315 c. NI. ^0\v/jL7rov AH. (pavepov eTepcov. 10. el iroLol TLve^ tcl ijOt) f^L^vofieQa aWa fi7]v OTL yiyvofieOa ttolol hC TLve<s. 8. ascribed to some of these werc extant in antiipntji. devpo 8r] 7rp6ae\ Lva AH. . yiapavov . flV flV fXV flV Sch. yLtoucrtAC/}?]* tovto SrjXov. Pamphos.

10. 3G. 7. notahly Aiid we tliat of the of niusical conipositions Olympus. and *let's pipe Olympus' nome of woe dve feel : in concert. He wrote dirge-nomes for the Scholiast oii : flute. 273. Mct. II . 9.mosthenes.A. Then come here. 320. : Dem. how Niri As. 093. 7. 402 h. 7. Phot'. 30.er of the name. Pr^ni. Bad. 7. Paus. 364 1.^. H.OLVMPUS LIFE OF Tiiis would be clear [on music] could sliow that music affects our cliaracters. 13. A/nt. 22. tlie youno. hy inany instances. an effect which is a condition of the character of tiie soul. H. /'. Hyg. \V\h\. 393. Al. c. 6. Aristotle Politics : : Siiidas /.r/ro/K Olympus: A Pliry_i. 7 /. Str. 2. 20. 21. 1 Ael. 563 a 18. 131. as bad as you do. a Hute-j)layer who Hourished in the tinie of Midas ^ son of Gordias. 3. 27. whicii adniittedly carry us away. Aristophanes Knights Df. F. Plato Crat. Clem. Rep.c. Hesychius (Hossaty the composers for the : Nome of Olympus : One of flute.' [T/iei/ lutni (i fctr bars. Ov. 4. My poor old mate. 5. 35. 165. 29. 9. 2. 21.V. if we can. . L 14. Ildt.^ the passage Olympus was a musician. Plin. ap. 6. Paus. 9. died B.ian. 4. a pupil of Marsyas. //. 10. for insfance.

(f>}]alv^A/ji(f)iova 'Vp/iov Ath. Paiis. 277 d . Rh. 13. ij.opivOia 7] fiolpa '^(^copa. dyaXfxa AttoXXcovo^. Vjiip.. . Ei. 74 Tt? 7roi7]Tr]<. U6 1.'}? TMV TToWmV. (TTTOvhfjy TtXiJV }s. SihdaKei Se tovto VvjuLriXoq Sch. . Xa^av . 2. 09 Kopivdia TO)v XeyeTai Eilf/lT]Xo<i iTOirjaai. . 6 Tr]V laropiaf. IZ Ta eiTT] Ta e<. iOTopel To ev A. iaTopiK6<. 0.Xo9. //.eX(^ol<. Be 7Tpoi]yovfieva)<. avT7]v Js. Be K. ol iaTopioypd(f)oi. (pi/alv ev rrj Svyy pa(f)f}. Kiova . Euyu-7. 6 ti]v ILvpcoTTiav TreTTOirjKOix. . Vjvp(07Tr]v ^pijaaaOaiXvpoi •npMTOV SiSd^avTO<. 9. .t9 Ai/hr]]' . Alo<. . . tcl Se ^Hai6Bov /neTijX267 X6yov Kal oj? iSia e^i]veyKav Te Kal ^KovaiXao^.opivOiaKOi'^ fir]Tp6<i. VXavKOv Se . Al.ETMHAOT Bto? Paus. Se elvai Is^opivOov ovBeva olSa eliTovra Trco t. 131 Vv pwn iav 7T0i)]aa<. G. ovaa Wpyeia'^ utto l^opivOov t6 ovofia ea^i^Ke./x7. 6 Tr]v TiTavofJia^iav iTOiyaaf. Clem. iroXXol efiv/jadi^aav. tov ^iaixhov eK rraTpo^. 1. .. Tr]<. Sck Ap. . 7. [AtT0)A. Piud. 1. TMvSe eivai Bid Sch. flKeavov Ovyarepa oiKtjaai irpMTOV ev ^iL(f)vpav T/y yf] TavTY] . 8 6 Se TTOii']aa<.0piv6ia)V Be 6 WfKpiXvTov Ka\ Ta eTTi] Y^aK^ihwv KaXovfxevwv. . dXXa Kal 151 1. G. Kal IlavTei6via<.A. ev Xeyei ]Lvpii]Xo<=. Tre^ov et? Ibid.o9 S/r.}jXov el 3?) ye t) avyypacf)!].

. Schohast on the Iliad Tliis account (of Dionysus) given bymany authors. who was taught by Hermes. if indeed his title to this is not false. . . .scriplion of Greecc which is part ot" the district of Argos. . the first ])layer on the lyre was Amphion. We are told Schohast on Pindar poet called Eumeius. Sclioliast on Apollonius of Khodes Argonautica [Aetohan Leda] She is made the daughter of Sisyphus and Panteiduia by Eumehis in the : . : Moreover the statue of Apollo at Tiie Same Delphi is shown to liave been a pillar by tlie words of tlie poet of the Kuropia : . . tlie reputed autlior of the epic poem (Corini/iidca). that this country M as first settled by Ephyra daughter of Oceanus : Coriiitii^ . wlio to the best of my bchef is seriously called a son of Zeus only by the Eumelus local if loud authoritv of the inhabitants. this by an historical Clement of Alexandria Miscel/anies Wliat Hesiod wrote was put into j)rose and pubUshed as their own i)y the liistorians Eunielus and x\cusilaiis.EUMELLS LlFE The district of Pausanias Dc. but occurs first in Eumelus tlie poet of tlie Europia. has ils naine from Corintluis. : Athenaeus Doclors at Dinner : The poet of the 13 . son of Amphilytus of wliat is known as the house of the Bacchids. : . : is Pausanias Description of (ircecc According to the author of the poem on Europa. dechues in the ('ori)(iliian Ilisfori/. . . Corinlliiaca.

Ap. Al. . 6crTi<. to . 3. 5.^7jAos. Op. ad Lyc. Rh. . 1212.'" o Iljid.s. K) [tt. aWwv niss o Kadapa «ot Ibid. Str.S7/. Pau. 1371. 2. Vide Frng. 144 e7ri/3el3]KevaL . 5e To. 480.taTa TTeiroir.eivai re ws a\r]du. 4. Sch. 4. 10. Paus. Apollod.lt]\ov vojui^eTai ixova to eTTrj TavTa. ETMHAOT TlpoaoOLov 1 ets At/Aoi' ^Lyra tov ^vBora icai aySpwu to Se a^piaiv dajua TrpoaoBiov e's tuv 6eov Xophv aTToaTeWovai. Tz. Euseb. 2. KTiaavTL. 3 tw 'Air6Wu)Vi ^ [tt. 2. 1.'S Evj. Clem. 1 . M^aariVioi i. 948. iiT ]!).xo. 1. 1 . 4. 1.Kws . 2. 264. e'5i5a|ei' Ei.r]Aov Thv KopivOiov elx^v rj/juv. 11. 9. . ad Hes. Te 'iveKa Ka\ tov irpoaodiov fiaXiaTa h irroirjaev is ArjKov.GRAECA I.YRA etr ecmv Eu/jb7]<. [tt. eiroir^ae Tw yap ^lOfo/jidTa KaTaOvpLLo^ eifkeTO ^lolaa d KaOapav <KLOapLv> Kal eXevOepa adfx^aX^ e)(oiaa.vpaKovaa<. 6. y) rj '^alpei 6vofia^6/JLevo<. 4 Eumelus poeta qui Bugoniam composuit et Europiam cogiioscebatur.. hrjTTOTe KopipOio^ 6 WpKrlvo^. Clem. 4. ref. Trts 5e vTTovoiai Th ttoAv is EvfJ. ^ * 14 mss insert ToVe traditional date 734 or 757 ^ ^ B : cf. Al. 8. 1 33. 3./^^v TTov Ktti Tr\s Kv\i4\ov\ oAAos Tis av ra cjTj e^Tri-ypa^u/. eTreTetov 'I^a-^am- Meo-cTTjrtwi']- A^Aoj/ Qvaiav ayovai 5e {Meaarjvioi) Kal kopTi^v aywua iTideaav fiovaiKrtS' '10ayU77s]' to 5e 5e eirl e's ap^^aioi' Ka\ reKnaipeadai 5e' eaTiv aWois re Ka\ EvjuL-i^Aov to7s yovv Ka\ TaSe iv t^ TrpoaoSiai Tcp is ArjAov eireaiv. ^vixyfKo^ 8e 6 KoplvOLo^ Wp^^^ta tw lL. TrpioTov Ibid. 2. 3. 2. \. 1. Ol. XapvaKos OUT7JS To.

s was contemporary witli Corintli . : : Clement of Alexandria Misccl/atiie. and the epie lines tliey sang are believed to be the only genuine work of Eunielus : now extant. particularly in view of his Proccssional to Lclus. by the lines of Eumehis. Their trainer in the proeessional song to the (^od was Eunielus.c. 725 ? ^ tlie dates are 15 . the foundcr of Syracuse. The Sanie [on festival (of tinies they Tthonie] The Messenians hold a yearly Zeus Itliomatas) called the Ithoniaea. 185. . 23. Gr. but my impressions on tlie wliole poiut to Eumelus of Corintli. of eourse. 4. In aneient : had a niusieal eontest too. EUMELUS i Processional to Delos Pausanias Description of fJreccc [on Messenia] Iii tlic reign of Phintas son of Sybotas tlie Messenians tirst sent a saeriHce and a male ehorus to Apollo at Delos.^ liatii Samc [on thc Cliest of Cypselus] Tiie inscriptions ehest may. 761) Flourislied Eunielus.'h view c. Fiuccsfiional to lAlos is testitied. Metis.^ 'i'he upon : tlie Messenia s struggles with Sparta agaiust P. Fourth year ot" the Fourtii Eusebius C/ifotiic/c Olynipiad (b. p. Eumelus of : Arciiias . 48. evcr the «ijood nian niay be . and for fragments of thcse epics Kinkel Epic.^ p. the poet of tlie Bugotna and the Ettfopia. Arctinus. . Lyd.: EUMELUS Eumelus of Corinth. Laur. Frag. Tiiofiofnac/n/. or wiio . as other things. be the worlc of some otlier nian. who wrote among in liis For he of Itliome talveth dehght in a Muse that a pure lyre and weareth tlie sandals of frecdoni.

. &)<? 'KWdviKo<. heiiTVOLcri dKOVMV . Kal eiKoaTrjv ^OXvpiTidha. }LapveoviKai<. oti p.TEPnANAPOT BL Atli. laTopeiTai fieTa T(f)iTOv 0\VfJi7TL(0V Oiaiv TTfV 7Tp0i)T7]V (lptOfl€iaaV TO)V Ti]V 6KTi]v (pi]aiv iv SiaOeivai.? v6fiov^ ./CTtSo9. laTopel ev Te Tot? efjifieTpoi^. AvhoiV \ 7r7. ttoO^ o Aecr/Sio? evpe. rar. . Kdv Tot? KaTaXoydSrjv. Par. . lepcovv/jios ^' iv Tft) TO) llepl YiiOaprphon'. co? S(oai/3i6<i Ilepl \puva)v. 16 . KaTa TepTTavOp^v (f)i]ai yeveaOai. 34 6 Ae'cr/3fo? d(p^ ov TepiTavhpo^ 6 AepSeveo^. iyeveTO he ?. S' o TioaeiScovio^. TavTov Ava- KpeovTO^ SP]\ov €K TOVTCov Ta Js^dpveia TrpwTo? TTdvTcov TepiTavSpo^ viKa.' oTi 8e Kal | tt/owto? ev -ylraXpov dvTicfyOoyyov TTvy/cTt? 8e Kal ixdyahi^ TepTTavBpo^. 635 d 14. 09 vtto iTdvTcov tov HXelov avfji(f)(t)v(o<. dp')(^aiOTepo<.apveiwv KaTO. tmv K. oirep iaTl iTefjLTTTOv Tlepi AvKOvpyov tov vofioOeTijv tov Tloiy^TOiv. dpyacov icTTiv dyvoel opyavov ?.dyaSi<. Mar. v\lr7]\d<.^ Kal tj]V efiirpoaOe tol. aa(f)co^ YlivSdpov XeyovTO<i tov TepTravSpov dvTi(f)6oyyov evpelv ttj TTapd Au3ot9 TTijKTiSi Tov /Sdp^iTov (f?\ 125)' ' Toz^ pa Tep7rav8p6<. ' for the gap of about 30 letters (partly filled b}' 8eklen's transcript) see Jacoby Marm. . 6eai<.

the first recorded name is Terpanders and we ' in . ^ i. ' . admitted on all hands to have arranged with Iphitus of Elis the the list (b. Accordinirr to Hellanicus both in his metrical and in his formal lists of \ ictors at the Carneian Festival_. because Pindar plainly states that Terpander invented tlie harhiios or lyre to respond ^ to the Lydian peclis or lute. . . 776). know from Sosibius' C/ironoIogi/ tliat tlie festival forms the fifth was founded in the iMJth 01ym})iad (b. while Hieronymus' tract Ou Singers to thc Lijre. . C . . to accompanj'^ it an octave highur? {vTTarn lit. 'highest' was according to our reckoning the lowest uote in a Greek inode ') ' 17 VOL.TEKPANDEU LlFE Atlienacus Dovlors a/ W Diinwr: lien Poseidonius savs this. c. he does not vealise that the magadis is an ancient instrunient. Parian Chronicl'' first : Olympic Games reckoned in From the time whcn the Lcsbian the nomes Terpander son of Derdenes '^ . 15ook of his Treatise him to the time of the lawgiver Lycurgus. . . 676— GTo). ' . which assigns who is on ihe Poeis. .c.c. in the words Whicli Lesbian Terpander invented of old to vibrate answer to the low-pitched lute at the feasts of the Lydians and the pectis and the magadis are the same It is clear that Terpander was earlier than Anacreon froni the following considerations. I.

/xeV/^oi? pv6/JLol<^ r' evheKaKpov/jLCLTOL^. Prohl.s. Tyv v}]Ti]V TrpoaeOrjKe. 19. Ol. 32 hia rt hia iraaoiiv KaXelraL ov KaTCL Tov apiO/iov Sl oktco.s\ 2>^ 01 yap iaTopi]aavT€<.LYRA GRAECA /jLov(TiKt/u /jLeTeaT}]aev €T}] HHH|-^'AAAI ap)(oi'TO(. 0UT09 yap eTTTac^Ooyyov et9 ApLaT0K\eLhi]v. «XX Plut. Ti/ioOeovy vTTap')(ovai]'^ Tov TepTTcivhpetov tovov eco<. i) K. cf^Ooyyov^.' Wpvalo<. ov ^^pr^aa/ievwv avTrj tcov e/jLirpoaOev KaTa To /LteXo9.. \vpa<. Kal eVl tovtov eK\i]Or/ hia iraaow aXX' ov hC oktoh' Sl eiTTa yap rjv.vpaiO<. r/ otl eTTTci yaav al ')(opSal To apy^alov. 33. elT e^eXcov Tr/v TpLTyv TepTravSpo<. epiravopo<i o evrt t&) oeKa 1 ^ev^e /lovaav ev fJSat?* Aecr/3o9 5' AloXia viv ^Av- Tiaaa yeivaTO klv6v' vvv Se liL/jio0eo<. Tr]<.. Mi/. ^AO}']vi]cnv ApcoTTiSou. : 2 : Terpander citharoedus insignis habetur. Ibid. 7r\€iova<. Per. 30 [tt. Eiis. (f)€v<i TrpMTo^ TTOiKcXo/iovaov ')(e\vv eTeKvcoaev u/o? KaXX/oTra? Uiepia^i 'O/cj- eTTi.. ra ToiavTa TepTrcivSpM /lev ti]v re Acopiov vi/ti]v TrpoaeTLOeaav. KiOapLv i^avaTeWei.' 'WaLohov civeypaylrav iS ol aWoi Se 1) Ae'cr/3t09 Kal aTro aTToyovov Se 'O/i^pov. TepiravSpo^. 234 Tini. ^ ^ hieppL^^ev €l<. coairep Kal Slcl t€tt cipwv Kal Sia rrevTe . Botou . Arist. \vTLaar]<.^ Suid.

- Suidas Le. Tiniotheus Pcr. o c 2 . Euscbius Clironich': Olynipiad . 64")).*33. ^ » cf. 1. in the (b. and Terpander removcd the 'third' Avhen he added the 7ictc or Miighest/ thus keeping the total seven and not I : ' increasing it to eiglit ' ' "^ ^ Plutarch on Music: The musical liistorians attributcd the Dorian nctc or octave-notc to Tcrpander. : ^ the reading is doubtful 16 calls him a Methymnaean Westphal -E: mss ews ds TepTrarSpov Diodorus ^ Thf iii 'AvTKraaiov /r.inning did Orpheus son of Calliopc beget the motley-musicked shell on Mount Pieria. and aftcr him canie the fanious Tcrpander. or again of Homer. G17) Flourishcd Terpander the sini. LIFE and rlian<i.sac: In thc i)Ci. and of Cymc ^ according to some authorities a descendant of llesiod. Aristotle Prohlems Why is the octave described as diapasou or '^at an interval of all/ rather than numerically 'at an interval of eight/ as Ave sa}^ ^at an interval of four or of five } Is it because the strings were in old times seven.ccl arclionslii]) TRRPANDER C)F stvlc ot tiie nuisic . born of Acolian Lcsbos at Antissa. The Samc [on Timotheus] Down to the time of Aristocleides the lyre had had seven strings. \vith the pedigree : ^ cf.er to the lyre. musicians before him not having employed it.vicon Terpander Variously described as of Arne.c. 2 (b. a Lesbian of Antissa. Timotheus divided the Terpandrean mode into a greater : number of notes.c.. and yokcd the Muse unto poenis tcn. And lo now Tiniotheus «jivcth the \yi'G new life with times and measurcs of eleven strings. 5 Tzetzes Chil.S81 of Dropides at Athens years.fr.

. . tmv 7roL7]fidTO)V dWa \e^iv Kal fjbeTpov ovk e^^ovaav. rov Kvpv(f)(i)i>TO<. Pliit. elvai TO)v 7rpo6Lp7]pevo)v Tr]v V7]V S . Ibid. kTTTd^ophov iiToii^ae TTjv \vpav Kal vofjiov^ XvpiKov^ TrpMTo^. TTiaTovTaL Se tovto eV tt)? dvaypa(f)r]<.' ofMOi(o<. . r]aav . ev 'EiKvojvi dTroKeLfievi]^. . . 8' 'HpaK\€iSri<. dr^XovoTi SiBd^avTo<. oi 7TOiovvTe<. . KaT€aTd6t]aav eVt Tep- . eavTov Kal toI<. eypayjrev. Troiz/Ta? Kal tou? 7roi7]aLV A^ov TTpojTOV <p7]aiv fcai 'Ai/TiOTT?. . €\€yeiOi)v TE Kal €7T0)v 7TOL7]T7]v yeyovevai 01 Be v6fioL OL KaTa TovTOv^. . Tct? ev "Apyet Kal tov<. KaOaTrep STifai^^opov Te Kal twz^ dp)(aia)v fxe\o7TOiO)V. T)]<. KL6ap(pSLa<. 'Ofiijpov /ueX?. tov Ofi7]pov \vpLK6<^. KaTa /jiovaiKOv<. JIks. ei Kai TLve<.ip. v6fJboi<. 7TepiTi6evTa aSeiv ev T0Z9 dywaiv d7ro(f))]vai Se tovtov \eyei ovofiaTa ^ ToD? Ki6apo)SiKOL<. ol Se t. . Kal tcl TTpoaoSia. . 3 18. . hC rj^ Tci? Te iepeia<. . tov 7Tpd)T0v avaTy]adfievov T0U9 av\(pSiKov<. vofiOL 7TpoTepov ttoX- \(p -^pov^p Tcov av\(phLKO)v 20 .• .?. v6pLov(. he Tep7TdvSp(p KXovdv. KaTa v6fiov eKaaTov TOt? e^reai TOi<. eV^/. dWd . ^pL\d/.cova OeXovaL yey pacpevai. Kai Aivov Se avTr]v i]\iKiav t?)i/" \eyei Kal " Av6r]v Kai Yiiepov •• Kal ^L\dpipo)va ^dfivpiv Se Kai A7]/jLo8oKov Kal ^)']fjiiov ov \e\vfjLe. av\(pSLKOi 7Tpo)TOv . ovofid^ei.. 09 7rpojTO<. . tovtol^ fieX)] TTepieTiOeaav' Kal yap Tov Tep7ravBpov e(f)i] KLdap(pOLKo)V 7toi7]T7]v ovTa v6fio)V. .. . "Svvaywyfj twv ev Trj ev ^lovaLKfj Tijv KiOapcohiav Kai ti]v KiOapo)SLKt]V WfKpiova eiTLvorjaai tov tov iraTpo^..'}? . avTov. .LYRA GRAECA Xeyovre^ avTov rov ^^co/ceco^. . . dya^e 'Ovr]aiKpaTe<.

whose fortc was the citharocdic or lyre-sung nome. ^ 1j Trpooi/j. . In the same . is the registcr })rcserved at Sicyon.. 8J. in prose. my excellent Onesicrates. . but resemblcd thosc of Stesicliorus and thc old lyric poets who wrote e})ic bnes and set them to music.. according to Jiim. . . which were establishcd much carHer. namcly in the time . and are thcse. . . .. . Antlien . was to writer of lyric ^nomcs.' Pliitarch on Mi(sic [see The Same on Olympus p. .lyre of seven strings and. . Philammon Thamyris Dcmodocus .' tliis Philammon. The nomcs of these Hute-poets. and the musicians.iov 21 . who His authority })resumably was taught by his father. tlie .LIFE OF Ilomcr TERPANDER — Euryplion — Boeiis of Pliocis — Terpaiuler . way . first com}ioser of flute-suno^ nomes and the originator of })rocessional sonos^ used elcgiac and epic verse. thc })oets.. . and to whom he ascribes tiu* naminj:^ of these nomes.. the art of singini^ to tlie lyre dcrivcs his lists of the })riestesscs at Argos. Thcsc })octs' writin^s werc not and Phemius. . Clonas. . a lyric poct avIio iiivcnted tlu. . . werc Linus . . Of thc samc gcneration. were sung to the flute. Pierus . from which he : on thc Musicidns. Even Ter})ander. The lyre-sung nomes. . in every one of tiiem set his own or Homer's e})ic lines to music for sintjing at the Games. . According to Heracleides' CoUections and the kind of })oc'try which bclongs to it were the invention of Am})hion son of Zcus and Antio})c. pKce the first wlio ascrihc thosi.. . he declares.

TrpcoTovf.' "TayvLV oe TrpcoTov av\i]aai." W\e^avBpo<. f^aKTv\ov<. /LepL/Lri/ievo<. ^pvvLho<. elra tov TOVTov viov ^lapavav. 6\ov 1] fxkv KaTa Tepiravhpov Ki6apcpSia To Kal pLe)(pL T)]<. ti]V Te^^yy^v Ty]v KL6ap(phiKi]v TepiravSpo^ dLevi]vo^evaL' tcl Yiv^La yap TeTpdKaL toI<. eTL Se Kal tov<. 6 ^ TTOLi/aavTCi^. yovv irpcoTov^. hk ovSeva tcov vo/lcov Tepirdvhpov tov dp^^alov (f)aiveTai tcov kl- 7re7roLi]/ievcov tov S. oTro)? /17] ev0v(. ^olootiov Ttva KalAloXiov Tpo)(aLuv re Kal ^O^vv iii^TrLcovd re Kal Tepirdvhpeiov KaXcov. ovaa SfereXef ov ydp i^i]v to Tra\aiov ovtco 22 . vevLKi]Kco. Tcov ^tXd/jL/icovd S' .' 6apcphLKcov . VTTO (paaL ^Op(f)ev. av\i]TLKi]v. TceTroiiiTaL 8e tu) TepTrdvSpa) /jL}]V Kul TeTpaolSLOv. eSijXcoae' tov<. T0v<. TLvd<.e\(f)Ov avaTi]aaa6aL. KO/iiaai. . e^i].LYRA GRAECA TrdvSpov eKelvo^ yovv Trpwro? o)vo fiace. "VjXXi]va<. Kpov/iaTa "OXv/iirov e(f)i] TrpMTov el<. S' iv tj} ^vvaycoyfj tcov irepi ^pvyia<. eW "0\v/nrov' i^i]\coK€vaL Se Tov TepTravopov 'O/iijpov /lev tcl eTnj. r]\LKia<. Traz^reXw? aTrX?} Ti<. (f)avf] Trapavo/icov eh ti]v dp^aiav /lovaL- eoLKe he KaTo. vojjlov^ ev eireaL SLapLLyvvcov 8Ldvpa/ji^LKt]v Xe^LV ySev. lSaiov<. KL^ ')(p6voL<^ he a(f)6Spa 7raXaLo<. tco Tlepl tcov WpXalcov HoLi/Tcbv Te Kal XlovaiKCOv (f)i]aL ydp avTov SevTepov yevea6aL /leTa tov<. K)jv. Kal irpoolfJLLa KL6aprp8LKa iv eireaLv. O/o^eo)? Se Ta 6 /ie\i]. otl h ol KLOapcp^LKol vo/jLOL ol TfdXaL e^ eiTwv avvLaTavTOy Tov<i KiOapciihiKov^ •*• dWa TLfi69eo<. eaTL' irpea^vTepov yovv avrov Xp^^^iXo^^^ov aTTOcpaLveL VXavKOs 6 e^ 'iTaXia? iv avyypd/i/jLaTL tlvl. dvayeypaiTTaL.

tliese Cepion. There is reason to beheve that Terpander was supreme in the art of the lyresonjT.LIFE OF TERPANDER of Terpander. were first named hy Iiim. declares that instrumental music was introduced into Greece by Olympus. lyric song continued from Terpander's time to that of Phrynis to be wholly simple. when he style. Aeolian^ Trochaic. in his CoIIeclions on Phrygia. and also by the Idaean Dactyls or Priests of Cybele. (the lyrist) emulated in his verse Homer and in liis music Orpheus. TrpoTepos 2 Westphal : mss avKcfSiau 23 . Alexander. interspersed liis employed the dithyrambic earHer nomes with them^ in order to avoid the appearance of breaking.li pitc-lied. ^ mss . if we consider that : . . It is recorded that he won the j)rize at the Pythian Games four times running.and tlie period at which he lived must have been very early.nomes were composed of epic lines. who was succeeded by Olympus. Timotheus. because Glaucus the Itahan in his Hisfon/ of the Ancieiii Foets (ind Musicia/ts puts liim before Archilochus. and that while the first fluteplayer was Hyagnis. In fine.the rules of the ancient music. malving him only a very little later than the first composers for the flute. Terj^ander lyric in wrote Preludes epic metre «ilso and it becomes clear that the ancient Ivre-suno. Hi<. Poets were not permitted in those days to compose for the lyre . who was foUowed by his son Marsyas. Terpander . It is said tliat some of the citliaroedic or lyre-sung nomes thought to be tlie work of Terpander were really composed by the ancient Delphian composer Philammon. who appears to have been entirely original. and Four-song. Terpandrean. and are Boeotian.

tJ] \ai(i KaTOiKovvTa<i. tyj^ jdaeoi^^. Sia^. ovTa Aea/Siov TovTov 8e T6\€VT)]aavT0^.. TepiravBpof. Mus. vo/iov tojv Kal pv6/io)v Tpo^^alov (ovo/iaae dvaTeTci/ievoi r/aav kcil evTOVOL Phit. niss TeTpdSiQs . MofTp^o?' To 8e ^oicoTiov ovtco Ka\ov/ievov evpe rep7ravBpo<. Taaiv Sib Kal yap Trpoo-tjyopevO 0iK€Lav TavTj-jV e7rwvv[iLav ei^^ov vo/jLOi e^r}v TrapalSyjvai o)? e/SovXovTO ^ ovk 7](Tav.. . t?}? /ie\(p- TaKT)]v Kal pv6pov dipia/ievov. T))^ KciTa T)jv Kidapcphiav BiaSo)(^Pj<. . Ki6ap(t)hov<. 6p6iov aTro .6 Ki6ap(j)SLK6>. 6vpeT)]<. v6/iov<. dp/Loi'iav 'e)(^(ov Ibid. /ia6)]T)']V K 'Acrta? hid to Ke^^^pija^ai T0v<i Aea/3iov<.^ 6^v<. Ibid. 24 Wo^^tphal : iiiss Ka^direp Wivhapcx.' ev ^i€T7]povv eKcidTcp Trjv v6/jL0i<. .09 \a(3elv Aea^ioi^. ^ (f))]ai. 6p6io<. r/aav he eiTTd oi viru TepTrdvSpov' cov el<. 28 6TL Se. eK\)']6)] avTfj KaTa Kal Be fTroii]6)] /ii(ov.. us $(>v\otTai afler Ofovs Bvo . eTreiS)] 'yap tol^ KaO €Ka(JT0V vevo/jLLafievov €lho<. irpo<. Tpo7To<. (oairep Kal t6 ^pvyiov. Te\.. )/v. vo/io^.. TeXevTalop Se Tltpi/<\tiT6v (paar Ki6ap(pS6v viKrjaai ev XaKehai/iovi Kdpveia to yevo<. To avv€)(^€<. ^ tov<..LYRA GRAECA iroieladai ra^ KiOapfpBia^i w? vvi> ov8e jxeTa^epeLv ra? apiMOvia<^ fcal toi)? pvOfMov<.^ TeT paoiSiO(. tcl yap Trpo? tou? deov<i d(f)oaio)ad/jL€voi e^e^aLvov evOv<^ eiri Te T7]v 'O/ijjpov Kal tmv aXXcov TroirjaiV hr/Xov 3e toOt tVTi hid tmv TepTrdvSpov irpooiirpoiTOV l\y]Tri(ora to a^^f^pa tt)? tov TepTrdvSpov Ki6dpa<. Kal T(ov aKo\i6)V /i6\o)v TepiravSpo^. Suid. .

lyre. s. There were seven nonies composed by Terpander.LIFE OF TRRPANDKR do now witli frecjiRiit cli. . these coinpositions beiniij callcd laws becaiise it was not permitted to go beyond the j^roper scale. . he passed on to the ])oetry of Homer and other epic poets. . and the Orthian Hdt. Pindar telis us that Terjiander was the inventor of scolia or drinking: songs. tlie High-|)itc-lie(l of. 1 . * the list is iiicompletp. Suidas Le. Terpander. Thev were higii-pitched and of a vigorous cliar: : acter .inoe of mode or They maintained in tlie nonies the scale proper to each. . nonies or nanie. that was establislied in tlie time of Cepion the puj)il of Terpander and it was called * Asian because it was nsed in Lesbos wliich is adjacent to Asia.sii. the Highpitched .Further. Same Tiu- : Tlie Boeotian (tune). As soon as the composer had done his * ' ' ' dutv bv tlie Gods. Prcludes of Terpander. wliich indced is the reason of that as thev rliytlnn. His deatli put an erid to tlie continuous succession of Lesbian singers to the ' . iilentital witli upOios «'Ojuos. The Same Orthian and Trochaic Nomes Tiie two nomes so called froni their rhythms by Terj)ander. aiid Hesyeh. This is proved by the As for the form of tlic Ivre. Plutarch on M/i. *J4 .^ . The last Lesbian lyrist to win the prize at the Spartan Carneia was Pericleitus. the Orthian^ the Four-song. alsu waa probahly 8nid. as and the Pln-ygian were invented l)y is it called.riam : Nome : The song- lyric style of music composed according to strict rules of mode and rhythm.

50 ^'/^^^^ iroTe 8e AaKehat/xovLOL TOLovTOv /LOvaLKi]^ 7^/^ avTOL<i yv/ivaaiwv kuI eSei]Orjaav tt)? Ik ^lovaoiv voai]aavTe<. Aeaj3iov<. 7TpoaeKa\ovvTO. Ael. /leTeTTe/iyp-avTO 7Tv06-)(pi]aTOv. 7TpciiT0v<. Miis.LYRA GRAECA eari Be Tf? Kal Trepi tcop f)vO/JLm> elS)] pvO/jLMv irpoae^[irjv Kal fieXoTrotCMV Te kuI Plut.vScovLdTi/v ^v/jL(^alov Kal W\K/idva. oi yap AaKe- KLOap(phov<. Siiid.aTretpft)? dirXrjov' ^l^X^'^' el €7rLKovpLa<. avTo^ /levTOu Tov KaXov tvttov. T/'}? he OTL eVz/xeXe? TToXecov koX evvo/iwTdTaL^ tcov (^povTt^a TToielaOaL iroWd /lev Kal Tat^i yeyevrjTai dWa /lOvaLKrjf. dKaTaaTaTOvar]<.62'09 9 ovv /lev ?. 12 ydp Tiva koI \oyo<. /iovaiKT]v Tr/v KaTdaTaaL<. Tcov SaL/i6vL0L /leTa TO. dWo TL 12. jxev ydp i) TepTrdvSpov KaXoV TlVa TpOTTOV eZ? TTJV /jL0VaiK7]V eLar]yaye' Tlo\v/ivaaTO<. xpi^a/io. dvSpa<. laTpov<. r/ dv Trapd S' rj 7rapacj)povi]aavT€<. €7rl olov Aea^iov StVTepa T0v<. tmv ^irdpTj] TepTrdvSpov TrpdtTt] ev Trj KaTaaTr/aavTO^ yeyevi]TaL. i/ Bij/Moaici 7ra06vT€<. /lapTvpia TrapaOeaOaL eaTL' Tepiravhpov Tf9 7rapa\d/3oL tov Ty]V yevo/jievr/v iroTe AaKehai/ioviois a^daLv KaTuXvaavTa. /leTeTTe/nrovTO r/ KaOapTd<. 42 Ibid.. KaTa ye /ii]v TepiTavSpov Kal (*dd\r]Ta Kal TvpTalov Kal tov K. J. ydp ti]<. e^o/i..H. . TroXeo)? avTMv.^ ^€vov<.^ KaLVOTOjJLLa TpoTTov KaivQi Ibid.07roLiojv. Trepl ^ Kal e-)(pi]aaTO. 8e /leTa tou TepTravBpeiov irpdiTi] - pv6/u. yevvaLa<. Tep7TavSpov e'^' 26 . ci^Sov Trapoi/iia \€yo/Levr] (f)€po/Mevcov.' yevT] dWd evpeOj]. eyeveTO tov Aea/Biov coSov /leTa7Te/i7TeaOaL' ol S' e'f WvTiaai]<.

The Same The first establishment of music at Sparta was due to Terpander. Nvm})haeus of Cydonia_. 71) ^ ^ E- : : 2 j^gg •jrporepa * cf. Suidas Le. at the bidding of the Delphic oracle.ricon Next to the })oet of Lesbos Said })roverhially of })ersons who come off" second best. . riiilocl. and indeed of nietliods of nietre and rhythm. Yet if ever they required the aid of the Muses on occasion of general sickness of body or mind or any like })ubHc affliction. beautiful style .LIFR OF TERPANDER Plutarcli on Mu. For instance they summoned Terpander^ Thales. When their city was torn by faction there was an oracle delivered that they siiould fetch the })oet of Lesbos. and Alcman. Polymnastus who followed him employed anew rhythm as well as his. had no skill in music. . Tyrtaeus. their custom was to seiid for foreigners. and not least among these the quelling of a sedition at Sparta by Terpander. . Terpander first broke new ground by introducing into music a beautiful stvle of rhythm ealled after liim the Terpandrean. to act as healers or })urifiers. ancl Ka\ S Miiji. The singers to the lyre first called in by the Spartans were of Lesbos. and aceordingly they sent for Terpander of Antissa. XX (on Stes. who was living in exile at The Same show : tliat : : mss fieXowoiwv T6 hol pv6/j.sic: Soinethiiig also sliould bc said For there Iiave been innovations in the forni or kiiid of rhythms. : Many circumstances could be cited to good niusic has been a matter for concern to the best-regulated states.oiroiwv Westphal mss accus. but preserved throiigliout the same about rhytlims. Aelian Historical MisccUanies The S[)artans^ whose bent was for bodily exercises and feats of arms.

eXejov </jL€/ivi]Tai avrov — oti yjrv^a^. 488 Tpv(po)vo's el<.LYRA GRAECA (fievyovra fieTaiTefiylrd/xevoi ^jkovov aifjbari ev avacnTioi^ ToZ? [leTeTTe/i-^avTo oi €k fiovaiKov TepTravSpov. ev Trj AaKeSai/ioviwv lioXiTeLa to foBov ' (f>aaiv To^» TepTravBpov avTov.s. * 28 Zenobius . KpaTii^o? ev TavTr]<. 1. Tliemist. Mera Aea^iov wSov. PuL Anth. ETXcoTa? KeXevo/ievov. 30. el (pi/ai S}]\ovv.V. eK€Lvov tijv €L<. Plut. ti]V tov<. ov8^ ev /SeXei dXX' evl avK(p yeLXea. /leTCL TavTa /lovaiKov tivo<. Al. ev AaKeBar/ioj>Lai<. 31G. Tepirr^v Ki6a~ . 26.' Tep-jTi]<. hea7Toavvov<. M//. .dSeaaiv doihdv K(LT6av dvoaTi]aa<. (pev' 7rpo(f)da6(t)v ovk diropel 6dvaT0<.

ide Clem. 1. dXXo<: tz9 M^Ta Aea^iov eKaXovvTO Ee Ti/ii/v TrpoiTOV /lev d-jToyovoi irapeu] Aea^iov XoiTTOL /leTa OL ' Aeaj^ioq. 7TapaiTela6aL (f)daKOVTa<. 10. Dion. 28 Kai ^aaiv Sio vaTepov ev Trj AaKoiviKijv aTpaTeL(i tov<. Eiist. 09 yp/j. tlSeiv Ta TepiTdvhpov Kal ^AXK/idvo<. 19. Or. i/kovov ovv AaKehai/iovLOL. 78. tov AdK(t)vo<. 9. Kal 'E7Tev8ovTO<. p(pB6v .oaev Kai tijv aTaaiv eTravaev. 1*1 iit Lyc. //.>^ Ael. ovK dopi 7TXr]yeL<. 129 Kal Wp(aT0T€X7]<.. Mu. uXlaKo/ievov<. 28. elTa ovT(o<. Philod. ovk e6eXeLV ("^i/fSaidiv eL<. aTaaid^ovTa AaKeSaL/jiovioL Xea^ov Tov avTMv Tw^ kul tt)? ' 7rapoLfiLa<. el0* (ohov. \eLp(t}VL.. Slr. eLTTOTe OL Kareo-rdXTjo-av. Eucl. inir. ap.. ev^op/iL^^/^ya KpeKdw aKi. tov aTrXco? hi]Xaoi] Aea/3iov. Hann.

: . his Cliciron. but by tlie casting of a fig between his hps. and it is used to summon to t<ikc his place of honour ^ first liis descendants.: ' LIFE OF TERPANDEU Sparta bccause of a miirclcr. thc musical contests Terpander. ceascd thcir factious Anothcr account is this The Spartans at a strife. s. Avho restorcd harniony to their niinds and put an cnd to the strife of partics and so Avlienever aftcr tliat time the Spartans hstened to a musician^ the saying vvent ' Next to the ]ioet of Lesbos. lie pcrished never to return. then any Lesbian poet present. . not by a svvord. tinie of intcrnecine stru^ijles sent to Lesbos for the nnisician lcrpandcr. ^after tlie poet of Lesbos/ that is after any poet that came from Lesbos. s.' This provcrb is mentioned by Cratinus in : .stihiti()?i * ' Palatine Anthology Tryphon on the lyrist Terpes 2 When in the Spartan Place of Meeting Terpes vvas singing a song to the thrunmiino. in his Con.of his svvcet lyre. Ahis Death suffers from no lack of pretexts. to liis music at tlieir public diiuiers. cf. Aehus Dionysius quoted by Eustathius : Aristotle of Spar/a dcclarcs that in the saying Ncxt to the poct of Lesbos the reference said that the Spartans is to Ter})ander. nor yet an arrovv. . ' callcd firsl hcfore ykvKv ^ tlie jiiclges of apparently an abbreviation of ^ueAi 29 .Suid.sTlnis it is said that during the Theban invasion of Laconia the Helot prisoners refused to sing at the bidding of their captors the songs of Tcrpandcr or Alcman or Spendon the Laconian^ on tlie plea that tlieir masters : later never allovved it.eTa AeV/S. and the rest as they came. ! Phitarch Life of Lycnr^it. . ^ Hcsycli. /j. and listeniniji.

i'). ^ afTiTop aiiTov. G [ir.i(piavaK7i^eiv' vofxov KaXovfxfvov up^ov. Al.TOv ^ap^dpov tov xliaXr-q^ lov.i vivoOi~iyixa TepTrdvdpcf} v/jlvovvti r. iravTwv ap^u.irh eTra. rat? ^lvd/jiag iraiaiv ^ld)crais Kal T(p ^lwadpj^^oy Aaroi)? vl^l.oiia. aoideTo} . airov^eiov]' (Tirov5e7os 5' Tov pvdfxov Tov ev rals cnrovSals enavKofxevov T6 Ka\ oioV "XTTevSco/uLtv iK\r]0T] o.Oofxevov. apxaioTdTTi /jl4Aovs. : mss ovtis. w (ppijvr 3 cis A7roAXon'a Kac MoiTra? Keil ji ii. ov to Trpooifxiov TavTrjv ttjv apxv^ ^'X^^ 'A/x^t/ l-ioi avT€ Fdva)(^0 deid €KaTijl3o\ov tov . Ata tts ttiv Aiipiov ttuis' Zev. aSeiv tov TepTrdv^pov o.f. Sir. 6. ZeO. "t^A: (Te/jLVuv ifx<paivovaa To tov Aia wde tou-w apfj. Grani. Tvyxdvovaa.Q.eiZ^ ayrjTwp & Crus : " avre Herin mss aSerw. 30 : av rhv mss a-^TiTdcp.LYRA GRAECA TEPnANAPOT 1 Cleni. aeiSeTw. npos apfxoyiay ixa\i(jTa yiviTo. aol Tre/jLTTco TavTav vfxvwv dp^dv-^ 2 €19 'ATToAAoji-a Suid. irdvTWV dyijTop.

Sch. tlie leader of gift for a all .iibarian psaltery (of David).^ 2 Suitlas Li\ri<Vii T(j Ai'OLLo aucpLauaxTi^^^Lu : : to sing Noine tlio Terpander called the Orthian or High-pitcheil. Ar. to tlie thee : bei^inniiig of briiig this 1 all. ad loc.' such as : ' : Let us pour to the Daugliters of Memory their Lord the aiid Son of Leto. Zeiis. Hes3"ch. 31 .shes an exaniple or foreslia»lowing of 'J'erpandcr thiis siuging the praise of Zeiis : in the Dorian inode Zeus.'s the meaning of A})ostol. aa(p\ avaKTa' apxh iCLdapcfdiKOv 3 ascription doubtful vojxov ^ syllables . of whicii of the prehule begins Of the Far-flin2:in«r Lord come sini:!: me.: TERPANDER TERPANOER To Zeus 1 Clemeiit of AleKaxidvin MisccUanics >So tlie nioile or scale of the l). 595 (ck toov 3. furni. the solemnity is partly due to the absence of sliort if the words are really T. Ars. Nuh. Suid. 2G1 2 cf.osmogonic cf. not (. O mv 80 ul. 'air is prob. begimiing of hvnins. lUsplaying solenmity as it (loes and ]>eing very ancient. 29 c TepTravZpov TTpooijxioiv).-' 3"^ To Apollo and the Musks Keil Crrammatical E-drctcls [on the vSpondec] This rhytlini is so called froin that of the songs sung to the flutc at a-Kovhal or libations.

^ Kal tovs e/xfianjpiovs AaKeSai/xovL<>. outos MTj^u/irrjs]* Tepiravdpov Se ttjs auTTjs juef ovv /. KLOapu}56s' Kai [tt. Covqj.touo^t/CTjs (6 ^Apiwv) Tex^iTr^v avTl ttjs (paalv Kai ttjs avTrjs viicrov. 17 [tt.Sa9 KoXKicnoi a(OTrjpe<^ 5 618 13. iStrab. 72 Teprravdpos ye /xr]v b Aea&ios Nvaaav XeyeL TeTidrjvr]KevaL tI>v Aiovvaov tov vrro tlvwv '2. (f)6pijLLyyi 6 Plut. Hal. aoi 5" ij/xe7s and airoaTp4\p. . T€ Koi a^ioo/jLaTiKos e| v\pr]\us outoD TOioroe' A/. 6 6' i<TTi Koi diafiefirjKws iivl ttoAu* irapabe7y/j. ^ niss .o.Toh.LYRA GRAECA 4 ^ €tS AtO(TKOrpOl'S Dion.'S 5e ijfxTis tis eTriaTT^aas toIs 6. eWa vrro twv TLTavwv arrapax^evTa.a 8e ^n Z?/2'o? Arat airaawf ixaKpSsv. JAn?.&a<^Lov 6vo/ia(6/xevov. o /lev yap ovtcuS ixp^^ro irpos riyriaaiTo Koi Tr/v avSpeiav ttj /xovaiKrj ireTroiriKe irepl AaKwVLKols evia SieauOr]. iK Aios Kai Tlepae(p6vr]s yevo/xevov. ^ TOi T€Tpdyrjpvv d'no(JT€p^avTe<^ doihdv eiTTaTovw veov^ Ke\a8/]ao/JL€v vfjLvov^. ^ . 21 noi-)]jxaaiv oov eTi KaO^ avahafiwv pvd/Lovs noXe/xiois. nivdapov ov ois KaKCiss oAa. Kaddirep Ka\ ev tois avacpepo/JLevois eireaiv eis avTov XeyeTUi' -yeyovevai r}/jL€l<. tov TrpwTOV TeTpaxopSov Xvpas eirTaxopSif XPVC^^-pi-^^ov. Lyd. Liicurg.v twv tov avXov iirayovTes Tols tov TepnavSpov Kal tov avvdiTTeiv.'V ev6' aly^jjbd re vewv OdWei Kal Alwcra \iyeia KUi AiKa evpvdyvia Ka\o)V €7riTdppo6o<^ epycov. pv9/xuv]' fxoXoTTov S' avrhv ol fxSTpiKol KaAovcriv.so Eucl Sjeo^oJ^eTo 32 : Strah.

Terpander. I. . 66 19. Eucl. Al. as is recorded in the epic lines ascribed to : the lyre him . Harm. he will conclude that both Terpander and Pindar have good reason to connect valour with music as the former does where he says of Sparta : Where bloom both the spear of the young men and the clear sweet Muse^ and eke that aider unto noble deeds^ Justice that goeth iii broad streets ^ . Keil Philol. 10. Poll. O [Sons] Zeusand of Leda_. was he was tlie son of Zeus and Persephone of Lesbos.: TERPANDER 4 To THK ^ Dioscuiii Dionysius of Halicarnassus Composition [on rhythinsj The rhythni wliich consists entirely of long syllables called molossus b}^ the writers on nietre is elevated and dignified and takes long strides and this is an exaniple of it — — : . 23 608 33 VOL. .^ Phitarch Lifc of Lycurgus: Indeed if the reader will consider the Laconian poetry of which some is still extant and the march-rhythms the Spartans used to the tune of the tiute when the

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went into battle. Strabo Geograjihy [on Methymna] Arion was a singer to and according to tradition the saine branch of music had an exponent in a native of the same island. 814.t. Dionj^sus. 4. ^ ascription doubtful 1. fin. who was the first to use a lyre with seven strings instead of four. cf. Johannes Lydus On Months According to Terpander sometimes called Sabazius. Theatr. * Tac.50. cf.* . Clem. •* Cram. the who : is nursed by Nyssa and was eventually torn in pieces by the Titans. Arr. 6.r. Inscr. cf. A. . Sfr. saviours njost beautiful. : To thee we will play new hymns upon a lyre of seven strings^ aud will love the four-voiced lay no more. Dion. Intr. D .

avvTOvcoTdroL^ ovaLV. Li/c.vSpov . (p^al TT/Do? ev^reiOeiav Kal opovolav dvaK\y]TLKol Sia pe\o)v dpa Kai pvdficov 7ro\v to KoapLLOv \vpiKOJV fjLeXojv epyw 7re7roLT]pevov. 4 Kard Kal AvKovpyov. Str. Tvviov Oa\r](. e)(6vT0)v Kol KaTaaTaTLKOv .©AAHTA 0AAHTOS i) Bt'o9 Diog. 1. 482 tcov Tep7rd. IJboi^. iroirjTi^v fxev SoKovvTa Kal 7rp6o-)(i]pa Tr]v Te-)(vriv TavTr]v Be d^rep ol KpdTiaTOL rcov yoL ydp ifaav al vofioOeTO)v SLaTTpaTTOfievov.. (^dXijra.H. Paus. 10. Kal TOL^. . aWoi %a\al. AyfjLijrpio^ o M. 9 TTfv ?. ev rrpcoTr] Tfj Strabo KaTdaTaai<. Oa\f]Ta UoXvfJLvaaTO'^ S' Topein] AaKeSaL- eivai K. 1. . Y^pr]TiKol<^ ^(pfjadai Kard Td<^ ooBd<. V. cf)y]ai avTOV TTOLifaa^. Trivre. Plut. fiovaLKrjV 1 34 pev ovv cf. 4 . OfjLrjpov TpiTO<^ dpy^alo'. Ael. eVi^^co/jta? ci)Sd<. dX\a<. pv9pol<. L. 1. vofjLL^o/jLevcov eKel cro(f)a}v Kal ttoXltlkcjv y^dpLTi Kal (pLXia Tretcra? direaTeiXev et? Tr]V ^7rdpTr]v. Se 6 AaKe8ai/ji0Vi0i<. w Kal Tov<. Eph. KprfTCOv]' &)? 8' avTco<. . iv toT? 'O/jLcovv- mv KaV 'HcTLoSov ^e^yovaaL he koI 11 . 50 fiovLOL<. dvaTLdeaaL Kal 7ro\a tcov vofiificov.dyvT]'. 01»? Od\r]Ta dvevpelv. Td<. 48 [tt. irepl e<. irdvv eva 8e tojv Plut. KaOd (f)r}ai. . 7Taidva'^ Kal Td<. .o\ocf)ct)VLO<. . Mus. 12. X^rdpTr] 10. voaov 7Tavaa<. ap. Tyv 14.

he Paeans and other native songs as well as many I^retans] )f : their customs. who was ostensibly composer of songs for the lyre but did the work )f a lawffiver of the best sort. L. HistoricaL Miscellanies [see above on Ter- )ander. -'omposed AeHan some epic lines . p.THALETAS THALES or LlFE Diogenes Laertius Lije of Thales tJie Philosopher \ccording to Demetrius of Magnesia in his ^len qf he Same Xame. 35 D 2 . and : . there have been five others of this tiie third belongs to very lame. . For his sono. namely those of Hesiod^ Homer. .^ Plutarch Lije oj^ Lycurgus One of the men who name in Crete for wisdom and statesmanship Lycurgus prevailed on by favour and friendship to jo to Sparta. 27]. who . to whom moreover they ascribe . of whom incient times.s were ixhortations to lawabidingness and concord made rhythms themselves )y means of melodies and narked by order and tranquillity. Plutarch On Music nusic at Sparta : The first establishment of Tlie second was due to Terpander.ongs are Cretan^ the grave and severe rhythms nvented by Thales. : lad a L Ephorus quoted by Strabo Geography [on the Similarly the rhythms they use in their . .tayed the plague at Sparta was a native of jfortyn according to Polymnastus of Colophon. Pausanias Descripfion qf Greece : Thales who .ycurgus. on him for the Spartans. This was Tiiales.

? ev AaKeSaifiovi Xeyerai r]aav K ol irepX SaXijrav KaTaaraOrjvai re Kal koX iroiTjral "^evoBafiov "B^evoKpirov . . . Kai . 7rapayev6fievov 8id fiovaiK7]<. TToXkd fiev Kal dWd t/}? fiaprvpia Kal ean. to. . fiovaLK}]<. nva^. ecoOev dpfio^6fjL€vo<. TepTravSpov 8' dv Ti? 7rapaXd/3oi SaXijrav rov J^pPjra. yeveaOai tovtwv ydp elarjyrjcrafievcov Ta irepl rd^ TvfivoTTatSia^. r?}? YopTvvio^ koI 'B. . 5e . KaOd^rep (f)7]al .Ta he rov K. Traidvcov Plut. fxdXiaTa alTiav e^^^ovaiv r]<ye]i6ve<. . rcov ®d\r]T0<. Kav rr^v fieXo^roitav fir] Ke^^pvaOai.. 32 fiev 7rpo<. ivdelvai' ^ Ap-)(^iKo-)(^ov oi^Se Porph. 36 koI e^roLelro. i^rl \vpav yovv tt}? Tr]v SLaTpL/3d<. 0iKia<. 42 oTC Se KaX TToXecov e7rifie\e<i yeyevyrai Tal<. . eavrov (j^covrjv dScov 7raidva<.LYRA GRAECA yeyevijTar SevTepa^. .. . . . Sa]Tav (paalv e^eipydaOai ravra Kal So^ac 7TOLi']T7]v dyaOov yeyovevai. Mus. .pr]r6<.. el rraidvcov yeyevr^rai TXavKo^ ydp fjber 'Ap^tXo^^oz^ ^daKcov yeyevrfaOai 10 Ibid. . .evoKpLTO^s . dfL<^ia ^ifTelrai. Tr]v %7rdprr]v. Pyth. . . auTO? Vit. roiv (ppovnSa rroielaOai yevvaia<. /cal IloXv/jLvaaTO<. 6v (f)aai Kard n 7rv6oxpvarov AaKeSaifioviov^. Tlpariva<. ^0\vfi7rov '0/3(/)ea av\Ti]ae(o<. (p7]ai ra Ap')^^^- he ro fjLaKp6repov eKrelvai. . . TLaiMva^ koI Tipt^nKOv oh avrov pvOfjiov el<. rd<. laaaaOai d^raWd^ai re rov Karaayovro^ \oifLOV . evvofjicordrat^. fcara(TT}]cravTO<^ Sa\y]Ta<^ fcal t6 6 'B. .ev6hafjio<. ^a\r]Tav fiev fiefiifJir]a6ai errl X^^x^ov fieky]. .. dXX* ovB Tep^ravSpov Ik ydp rr]<. Kal 7Tepl 0aX?.. 7roii]r7]<. /cal ^aKdda<. dp-x^aiov^.

Xenocritus . Naked of Feast the that told are we For Sacadas. . itance of the Delphic oracle to heal tlie Spartans by liis music. Philod. 678 b (on Alcra. . 4. :ern to the best-regulated Phitarch on Music : :hese the quelling of a risingat Sparta byTerpander And according to Pratinas. xix. Ag. Princ. Many circumstances could be has been a matterof conmusic good 3ited to showthat and not least among states. p. it is doubted he comjwsed Paeans. Ath. rid their city of the plague which ravaged it. Porphyrius Life of Pythagoras He used to amuse limself alone in his own house of a morning by iinging certain ancient paeans of Thales to his own iccompaniment on the lyre. 1 cf.. 47) Ritschl : niss pLapiava 37 . 3ut are said to have been derived by Thaletas. Glaucus. was due to these musicians Voutlis at Sparta ^ and Xenocritus were Xenodamus. 10. ^lus. 10. from the Hutekvere nusic of Olympus. . As for Thaletas of Crete.hus showed himself a great poet. . declares that he imi. . Strab.. Tlialetas the Cretan kvho is said to have been invited thither at the in. .. who puts The Same : vvhether lim later than Archilochus. 15. : See also Plut. \rchilochus. .phil. Thaletas. . . Xenodanuis s and Polymnastus .ated that poet with the diiference that his songs longer and he employed the Paeonic and These had not been used by 3retic rhvthms. nor indeed by Orpheus or Terpander. . :omposers of Paeans. .LIIE OF THALETAS ou THALES best ascribed to Thaletas of Gortyn. who . . 482.

' vaTepco d>e j^povco kol Yio\v/JLvdaTeLa KcCKov/ieva e^evpedi/.o\ocf)covLov tov /xeTa TOVTOv yevo/xevov toI<.nOATMNASTOT Bt09 Str. 'Ett^- K..eYO?. vo/mov^ koX Ta irpoaohLa. 643 [tt. av\w8LKov<. 14. TLoXv/jLvdarov KoXocpcovlov dvBpo^. rov 7rpd)T0v avaTJjadpievov tov<. avTOL<.^ tcl /leTCL Se TepiravSpov Kal KXovdv ^Ap^^ldWoL Be TLve<. otl tov ^AttoTTOLT/aaL. kol UoXv/ivaaTov tov K. 'ATro^ero?.t/ttlcov.. Kal TpL/jLe\t]<. KoXo^wz^o?]' Xeyec Se Hivhapo^i Kai Tlo\v/jiva(TTOi> riva rcov irepl rrjv jJLovaiKrjV iWojL/jLcov' '^dey/ia fiev irayKOivov eyvwKa<. eKeyeiOdv t€ Kal eTrcov 7roLy]T7]v yeyovevai. elrj. yeyovevaL he Kal Tlo\v/LvaaTOV TTOirjTr/v McXt^to? TOV Ko\ocf)(OVLOV VIOV OV TOV lIo\v/jLVr)aT6iOV irepl Se K\ovd. Mus. tcov irapaZihoTaL yeveaOat.. /ivr//lOvevovaLV ol dvayeypa^oTe^' tov he TVdXv/ivdaTov '^ ^ mss €\eyoi T\o\vfivq<n6v (gloss 38 Westphal on %v) re koI * : mss re Koi iuos IloXvfivqaTrjv vSfiovs ^ mes tv . Ki/SeLo^. 3 o/jLOLco^ Se TepTrdvSpo) KXovdv. ^')(otvLcov. dyaOe tovtov<.co/xdp')(^io<. ')i^pi]aaa6aL 'TTOLjj/JLaaiv. 5 \o)(o<. KXovd Ti]V avaTi]aaa6aL avkcphiKrjV /lovaav. avyypa(j)€cov "ApSa\ov cpaaL TpoL^^jviov irpoTepov Ibid.^ Pliit. KaTa r/aav. "EX. vofJLOv 6eTov v6/iov Kal ^^^oivi^ova TreTTOirjKcof. 8e vo/iol ol 01 av\(pBLKol ^OvTjaLKpaTe'.-'- K..

The nomes of these flute-poets^ my excellent Onesicrates^ were sung to the flute. : : The Same The successor of Terpander and Clonas given as Archilochus./A-. But some historians make out that Ardakis of Troezen composed music for flute and voice before the time of Clonas. To these were added afterwards the Polymnastian Songs.POLYMNASTUS LlFE According to Strabo Geographif [on Colophon] Pindar^ Polymnastus was one of the famous musicians ^ Tliou for he says knowest the world-wide saying of Polymnastus the man of Colophon. 188 39 . the Comarchius or Rout-Leader's. as they are called.' ^ : . and are called the Apothetus or Special^ the Elegy or Lament. the Sclioenion or Rope-Song.sic What was done in the lyric sphere by Terpander was done in that of the flute by Clonas^ the first composer of flute-sung nomes and of processional songs he used elegiac and epic verse. and that the poet Polymnastus son of Meles of Colophon flourished before his day and composed the Polymnastian nome. the Dirge. and the Three-part. : Plutarch On Mu. the Cepion or GardenSong. The claim of Clonas to be the author of the Special nome and the Rope-Song is borne out by the compilers of the registers^ and Polymnastus : is 1 l'in(l. His successor Polymnastus of Colophon followed his example.

Paus. ovk e-)(^opev dKpLj3co<. /jie\o7roLLq Ke-)(^pr]TaL. yeveaOaL' tovtcov yap elarjyrfcl)covLO<. AaKeSai/iovL \eyeTai KaTaaTa6f]vaL. tcov TrpooTi] irepl ZTrdpTr) TepTrdvSpov KaTaaT7]aavT0<.6ve<. SevT6pa<.<. ol Be Trepl ^aKdSav i\eyeicov Kal Tlo\vpvaaTO<. ap^^^alot tl iTepl elirelv ov ydp elpi/KaaLV ol TOVTOV. yovv TpLCOV tovcov KaTa TloXvpivaaTOv Kal ^aKciSav. 6 KoXoTrjv jxovaLKiiv ev Trj Kal ^aKdBa^.o<. ra Trepl tq? 'ATToSet^ei? ra? ev "ApKaSiq. o K. tov tc Acopiov Koi ^pvyiov Kal AvSiov ovTcov .v6y]pL0^ Kal 'B^evoKpLTO^ 6 AoKpo<. Kal 'B. . 9 fiev rj ovv . S' av\y8LKov<. Kal Tlo\v/ivaaTo<.o\o(pa)VLO<i eirrj AaKe.d\iaTa aiTiav ey^ovaLV 7]ye/j. inoii/aev' . 1. KaOdiTep ol dppoviKoi (f)aaLv. yeyevrfTai' tt]<.evoKpLTOv iroLijTal 'Bev68a/jiov re Kal TraLdvcov. vvv 29 Tlo\v/jivdaT(p 6vopa^6pevov ^ 40 tovov luss iu 5e and Se tov 0" 'TiTo\vhLov dvaTiOeaaL. ol he irepl Tlo\v/ivaaTov tcov opOicov Ka\ovpevcov. Kal tt/v exoiJ. iTepl iv Td<. . ttjv %a\rjTa Se elvai (f)r)at voaov iTavaa'^ VopTVVLOV Tlo\v/j.LYRA GRAECA Kal TlLvSapo'. €i 3' iv ^ Tcp 6p9i(p Trj v6/Ji(p . tmv re ev "ApyeL Ta rjaav 5' ol Trepl ^a\i]Tav ^EivSv/idTLa Ka\ovpeva. Ibid. re TopTVVLO<. 14. KaTdaTaaL<. Ibid. Td<.ev 5' below .. 1. ra aa/ievcov Tv/xvoiraLhia^. 8e (da]Ta'!. TTOLijaa^. 4 QaXrj^ Be o AaKe8at/iovioi. Kal WXK/jiav ol tmv fieXcov TTon^Tai ifiVTjfiovevaav. 8 . Mus. avTov BaLfJiovioL^i €9 Plut.aKdSa~

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[tt.vaaTO(i K. 6 'Ap^eto? p. v6/iov<. KOi '^ev6Bafj. .

according to Polvmnastus of Colophon. tlie Pausanias Description of Greece stayed the plague at Sj)arta . credited with the in- called the Hypolydian mode. Thaletas.and of the Feast of Garments as was due to these musicians. avIio composed some epic Hnes upon him for the Spartans. and Sacadas of Argos. For we are told tliat the institution of the Feast of Naked Youths of Cythera. Xenocritus of Locri^ at Sparta^ of the Provings in Arcadia^ . 41 . But whether. and Xenocritus were composers of Paeans_. was a native of Gortyn. Polymnastus vention of what called is tell for certain. On Mnsic There were three modes employed by Polymnastus and Sacadas^ the Dorian^ the Phrygian^ and the Lydian Phitarch : . The Same Sparta was The : due best ascribed to . and Sacadas of Elegies Polymnastus. estabhshment of music at Terpander. is lyric poets. Pindar and The Thales who . composed nomes to be sung to the flute. The second is first to Thaletas of Gortyn^ Xenodamus Polymnastus of Colophon. too. Polymnastus of the so-called Orthian or High-pitched Songs. as the writers on the theory of music aver^ he employed his musical powers upon the Orthian. in the absence . . Xenodamus.LIFE OF POLYMNASTUS mentioned by two of Alcman. it is is we cannot now at Argos^ . : . of ancient testimony The Same : .

Eq. rjv he Yio\o^(jovLo<^ 6 Tio\vflVr]aTO<^ €VJ]fL€pO<^^ TTCIVV. . ^ 42 ms evrj/x^prjs : al. .s. Ar. Hesych.LYRA GRAECA €K\vcnv KOL (fiacrlv rrjv eK^oXrjv ttoXv /j>6l^q) 7T€7roiijK€vai avTov. evuepv. fivi]aT€L deLheL fiovaiKijv re fiavOdveL. KOL Uo\v/jLV7]aT6La TTOLMV KOL ^VVCOV OlwVL^W' oo"Tt9 ovv TOLOVTOV civSpa fJLrj a(f)oSpa ^SeXvTT6Tat OVTTOT Ik TaVTOV fieO 7]/jLWV 7rL6Tai. . Tio\vfivr](TT€La he <aafiaTa Yio\vfiv7]aTov 09> Ka\ avTo<^ " Kojfiro}^paTLvo<.f^''?s ^ niss airr} . ^Api(f)pdS7]^ irovijpo^ . . . 'n. 1281 . .' 'Kal IIoXl'^€LTat eVt aiaxpoTTjTi. 6i'yu. TTOTTjpLOV. lIo\vfjLV7]aT6Lov aSeLv' €t8o? tl fieXo- TloXv/iv^cTTeiov. .o\vfiv7]crTO<. 7roLia<. to fl€###BOT_TEXT###7r0L0<^ Suid.

301. . ' . a lyric poet of Colophon. shall never drink out of the same cup as L: . whoever is not utterly disgusted by such a man as this. the PolymNow nestian and consorting with Oeonichus. : songs. not singing. . Mus. Sch. 42). . : the PolymPolymnestus Suidas Lexicon nestian are sonsrs of Polvmnestus who. 300 (Bacch. . 235 Jacobitz scale 43 . Luc. .' * the reading is doubtful.: LIFE OF POLYMNASTUS and is said to have greatly increased the threequarter-tone lowering. 37) where these are said to be features peculiar to the Enharmonic 2 cf. ' And learns music and sings the Polymnestian nus : : . 302 (= Baccheius 41. like the Compare Cratiabove. . of notes in tlie scale. Janus pp. ' Hesychius Glossary To sing the Polymnestian Polymnestus was This was a kind of musical piece. and p. of a very merry type. Script. Gr. and five-quarter-tone raising.^ Aristophanes Knights That scoundrel Ariphrades and doing. p. but cf. is satirised for his obscenity.

Se AcopiSL hiaXeKTcp. 7. Kal Moucra? ehdrfv'^\LKCovi8a^ aX pe ivpavvov drJKav Kal Tvyeo) fiei^ova AaaKv\Lov. eh ^A\Kfidva' ^ mss add eo-ri ^ "i^s add koL KoXv/x^uxras M€<T<xr]UT] ijueyKev XvpiKwv. ^i^Xia 9' fieXr).^ TrpcoTO^. 7.^' ^ tt}? ^leaa6a<^.50 Pat. 12. tmv epcoTiKwv yeyove aTro evpeTT)^ fieXcov. Antk. k. dvffKvkeoo fx. 1.. eTpe(f)6fjLav.. 18. A. ^OXv/j. "ApSvo<.^ Ibid. iraTepcov vofxo^. y.. rj rjv ^acriXevovTO^. Kepvd^ ypvo-o(^6po^. irdvv eypayfre OLK€Ta)v Be. dpy^alaL. Be eTrl AvSwi^ koI cov epcoTCKo^..^ Ael. AciKcov airo ^AX/cfJidv. 709 Alcmana Lacones 2 falso sibi vindicant. XvpiKo^. Kara Avho^ eK ^dpBecov. Suid. 18 ^AvTLirdTpov @eaaa\ovi-KeQ)<..pdr7]Ta iTTaiovTa he Tov vio^ Ad/jLavTO<. Vell.fl". he Ke^^^prjTat elaip/aye to fir] e^afxeTpoL^ fieXcpBelv.AAKMANOS Btos K. . Pal. €Tfpos 5e Koi ^ * mss kC ms 44 Tvpdvvwv 6. Tov ^ AXvdTTOV 7raTp6<. 'AXe^dvSpov ^dpSie<.av.F. KaOdirep AaKeBai/jLovLO'^. uv rj rwu ils ^kKKfx. TiTdpov.7ridBo<. prjaacov rjv Ti? KaXd dv rj el fiev ev vfitv ^aKeXa^ TVfiirava* vvv he fiOL ^A\Kfidv ovvofia Kal ^irdpTa^^ elfu 7ro\vTpi7ro8o<.

Dascylus. he uses the Doric dialect. or. poems. of Titarus.c. and the lore I know is of the Muses of HeHcon. The Same ^ or ' : : Antipater of Thessalonica on Alcman of singing to the lyre or flute songs metre was not hexameter ' whose : (chief ? 45 . Alexander of Aetolia Ancient Sardis. He \vas of an extremelv amorous disposition and the inventor of love-poems. p. Aelian Historical Miscellanies [see above on Terpander.) ALCMAN LlFE — Suidas Lexicon Alcmau A Laconian of Messoa. town of prize-tripods. He wrote six Books of lyric but by birth a slave. according to some flourished in the 37th when Ardys father of Olympiad (b. Roman V^elleius Paterculus claim to Alcman Histoi^ : The Spartan is false. 27]. 631-625). and was the first to adopt the practice of not accompanying the hexameter with music. had I been reared in you 1 should have been a maund-bearer unto Cybele or beaten pretty tambours as one of her gilded eunuchs but insteadmy name is Alcman and my home Sparta. Alvattes was kineof Lvdia. abode of my fathers. who have made me a greater king even than Gyges son of Palatine Aiithology : : . A : : lyric poet. Damas the son of He authorities.i Being a Spartan. wrongly called by Crates a Lydian of Sardis.

Sync. 0(p6f]vaL. (f)aaKcov vvv ovo/jLd^eaOaL. Ol. irepl Be avTOv<. (pepeLV yevo/xevr/'^ Kard "AXk/jLclv SvaLcov.. 42. vTTo/JLvrj/jLa cf)Oivi- ®vpea ev Trj<. eLT6 AaKcov TToXXal p^rjTepe^ vfivOTToXayv. TavTr]<. ov ^lovaecov evve dpcO/jLo^. 6vTa<. €k Kcov. Pol. TOVTO a H. [tt.?]' eaTi Se tt}? arod^. ex^L. avTov<. AlovvaoSoTov Tov AdKcovo<. "^iXlvov^. <o B eK Be^Lov yep6vTcov>.hv ex^ TTeTToiyraL. ev &J9 (pr]ai WXKfjLav o TrpoaTdTa<. eXevOepdiOi].^ KeLTai 5' i^TreLpoL^ hihv[jLOi<^ epi^ eW^ 6 ye AvSo?.^ yv/ivo)v op^^^^ov/jievcov Kal aSovTcov SaXi/Ta Kal A\K/idvo<. 678 b mv Se U: Euseb. coaiTep W\K/idvd re kol ^epeKvhrjv tov %vpLov. 7raidva<. tov<. 15. 6 tvjjlIBo^ oaTea (j)WTO<. aa/iaTa Kal tov<. elSijaei. \vpi-}<. 6 /lev irpoaco TTaL^cov. 6 h^ e^ dpi- aTepov dv8pa)v. ev(f)vr]<. r]8r] tovtov tov Tp^irov (^aai Tov iTOir/TT/v Paus.. yjv are^avoi irapd AaKeSaipLovioi^. oVe Kal Td<. Tive<. 2 aTecpdvcov]: OvpeaTiKoi' ovto) tol<. ^wai^io'. Kaib : mss . TTapa y ^ rh 46 3. Ay-qaiha. ^ snppl. tcov dyo/ievcov 'Xpp6)v ev Trj eopTT] TavTj]. eXaTTjpa AaKaLvr)<.^ Pont. olKeTr}<. 15. e-^^et. e^o-^ov. 403. KaXovvTau 2 [tt. hs Movcreov ivvia fx\v and apiffrov {>vdfj. ^Tra/^TT. 1 tov Kcd 8ie(p6dpy]adv f/. €TriTeXovaLv. Ath. Heracl. Arist. xopoi 8' elal <y>.A. Tv/ivoirai8ia<.LYRA GRAECA Avepa fjLT} ireTpT} reKfiaLpeo. vlki]<. Tiva^ iyvcopl^eTo. WXK/jLava. 557 av/i^aivei [tt. peydXov 8' \lto<.~\ 1 tcov dv6 pcoirov evioi^ he : v6aii/ia OTav vypaaia iroWr] ev tco aco/iaTi Tive<. TLXaTaviaTdv perh. 4>^eLpidaea)<.

Aristotle History cidaris^ : Mankind is of Animais [on the morbiis pedi- liable to this disease when the body contains too much moisture. . and known nowadays as psilinos.c. 2 (b. and the men on the left and they dance naked. 611): Flourished Alcman^ according to some authorities. the youths right. notably the poet Alcman and Pherecydes the Syl*ian. . Pausanias Description ofGreece [on Sparta] Behind the colonnade which runs beside the Grove of Planes : ^ ^ or the ' who hath names of in him the both his ' disposition of the nine Muses however.: LIFE OF ALCMAN Judge not the man by the gravestone. striker pre-eminent of you see the Laconian lyre.' 47 . one possessed of the nine Muses. Athenaeus Doctors at Dinner [on garlands] according to Sosibius in his tract On Sacri/ices. You shall know this for Alcman. but received his freedom because he was a man of parts. and several victims of it are recorded.^ : Eusebius Chronicle: Olympiad 42. he says. Heracleides of Pontus Constiiutions Alcman was the slave of Agesidas. These choruses are three in in front^ the old men on the number. singing songs by Tlialetas and Alcman and the paeans of the Spartan Dionysodotus. ' Thyreatic ' : —This. The tomb is small. is the nanie of a kind of garland at Sparta. are worn in memory of the victory at Thyrea by the leaders of the choruses which dance on the festival of that victory. made of pahn-leaves. These garlands. are Greek ' ? fathers. but it holds the bones ofa great man.^ And twin continents dispute whether he is of Lydia or Laconia for tlie mothers of a minstrel are many. which coincides with the Gymnopaidiae or Feast of Naked Youths.

evrj(. Tilpi^/ievoyv. ov 7ro\v AopKe(o<!.^ ijKLara Trape^o/Jievr] ro €vcf)(ovov. rov rjpcpov AopKetav. kcll ^A\K/jLavo<. Heph.. . . rov (\y(jL\paro<. ro eVt rovrw ^e^pov' 8e iralha<i Se ^liTTTOKOwvro^. \vpLKOL<. . eypayfrev .' . 'KX. ev r(b ' Apd^ai' irepl Twz^ . vr)\Lo<. Byz.LYRA GRAECA ypwa. Trapa Be rol<. arro oe rov AopKe(o<. 138 TT. tt}? /xev rrXrjaiov rov rd^pov rov ^AXKfidvo^.?. %r]/ieio)v' r] 8e StTrXf. 14. KprjvTjv rj]v elvac XeyovcTLv. . .. ^Lxopo<. rov Be iyyvrcira) rov rei-)(ov<. 638 e Ka\ 6 rov<. 14. Se lepa Kal '}ipaK\eov<. TrXrjaLov Ath. he 6 Slp^covlBov re ear Tv7]aL7r7ro<.. Tre pL *A\K/jLdvo<. Slcl rr]v tt/oo? 'jTrrroKoayvra Kal rov<. fiev ro he ^Evap- a(f)6pov Kal a<^ear7)K0<. iia-y^r^v yeveaOaL \eyovaL.. 646 a Kal X(oai0LO<. rb Se y^dypiov rov ro "Ee^piov KaXovaiv arro rov 'Ee^pov.. TLepl ^A\K/jLdvo<. ro OTTLcrOev 'AX/^tyaoi/. ft)9 7rap ^ 'A\e^avSpo<. Steph. Ath. iarl ttoXX. ev rpir(p 6poi(o<. Xe/Splov Se eanv ev Be^La fjivrjp^a 'AX/c/xai^o?. ev avrw he ayaXpLa 'YipaK\eov<^ earlv a)7r\Lapevov' ro Be cr^?}/xa. kco/ilkoU Kal rol^ rpayLKol<. SeTreiTOLrjKOt)^. Kop- A\K/idvL To7rLK(b<. f3\e7Tovaa 48 . rralha<. KlL\a)ra<. .. w TTOLfjaavrL aapara ovSev e? rjhovr^v avrwv eXvfjLt]varo rwv AaKcovcov i) yXcjaaa.. r) efo) Trapa /lev roL<. <j>r]aLV' ra ^rrjaL^^^opov re deiheiv. . . apxalov CLKOVeLV Suid. . aTTavia' Trapd A\K/jLdvL yovv evpiaKeraL' ypay\ra<.

The outwardworks of the frequent in the (>) comic and tragic writers. the other close to the wall. . a on Alcman. called Dorccian after Dorceus^ and the plot near another. E . one of Dorceus. 3) 49 VOL. On the right of this plot is a monument to Alcman ' whose poems were close by.vicon: as Alexander Cornelius says in his tract On the Topical Allusions of in . . In the latter there is a statue of Heracles armed^ this form being due. Alcman. not made the less sweet because he used the tongue of Sparta/ a dialect not too euphonious. A. Stephanus of Byzantium Le. c.ALCMAN LIFE OF there are slirines of Alcimus and Enarsphorus and. The temples of Helen and Heracles lie the one near the tomb of Alcman. . wrote . but unusual in those of the lyrists. it is said^ to the fight he had with Hippococin and his sons. or Alcman^ or Simonides. and adjoining this again one of Sebrus^ all of whoni are said to have been sons The spring near one of them is of Hippocoon. .' can listen to Gnesippus : '^ : . Athenaeus Doclors at Dinner The author of the comedy called The Helots says It is old-fashioned We to sing Stesichorus. Suidas treatise Lexicon . Philocliorus : . Sebrian after Sebrus. . I. <f>) a<Tjxara ivoiriaavri AaKwvuv. .P. but (cf. It occurs in Alcman. g. ran 'AA/cMavos roS^ /ivcifxa To5' 'AXwjuaicoj/os \v[jiavaro yKwcrcra porary with A. Athenaeus Doctors at Dinner: Similarly Sosibius the 3rd Book of his Treatise on Alcman. . who in writing a poem Hephaestion On Graphical Signs looking diple ^ : is (ra/xa rw (or ov8ev is aSocrvvav hardly be conteni- apparently the inscr. it would 7.

I regret that I have not yet been able to confirm them by the actual half of the first strophe. and prob. Clem. ov vlo\ 4. 107 Klotz 'linroKociiy tis iy^ueTo AuKeSaiTOv TraTpos Xeyo/jLevoi 'iTnrOKOccvTiSat ecpovevaav rov AiKu/xvLOv vlov Olcovov 6v6/j. one or papyrus * I have tested more whole strophes before it. t6 dafia yeypdcpOaL. \ovK e'7ct)]i^ KvKaLFov ^ ev KapLolaiv dXeyo). Al. (XvvovTa t<^ 'UpaK\e7. AAKMANOS MEAnN A' Ka\ B' nAP0ENEmN Sch. [aXX' ^}Lva^pa(f)6pov re Kal ^e/3pov TTohcoKrj ^ the new readings come of a ^ mss acx/iaTa wv detailed study of an excellent photograph and of a revision in the light of a still better one.aTi. Mariette Papyrus - 3 ] [ ^ XiwXv^evKr]^. ore Kal avrhs ttjv x^^P'^ eirXT^yr}' p. To Se 7j/jLiav eTepov Kal Sid tovto eVl rai? eTrra ^/ap iK€Lvo<i crrpocf^oyv dapLa ^ i^fiLav Tat9 eTepai^ TiOeTai y) hiTcXi) aTjixaivovaa To /jL€Ta^o\LKa)<.. missing "•* 50 .: LYRA GRAECA heKareaadpwv ro pev Tov avTov peTpov iTroirjcrev eTTTdaTpocfyov.efxvr^Tai Ka\ 'AXKfjLCLV iv a . ay avaKTTjaavTes iirl t^ irecpoveixTQai vtt' avTov Kvva avTuV Kal 5r/ fxovios. aTpocf)ai<. aTTo ayavaKT7)(ras eir] tovtols 6 'Hpo«-Af)s TroKe/jLOV <rvyKpoTe7 Kar' avTuv Ka\ TToWovs avaipe7. kindly sent me by the Bibliotheque Nationale in 1913 and 1914.

JJibl. 5 1. to indicate that the })oem is written in two ditferent metres. cf. 15. 112. A. 1 no suggestion fits 1. a companion of Heracles. . : 51 E 2 . 1 (above). See also A. 19. 395. 7. 0. The story is told b}' Ak'man in his first Book.H. PHn. 1. Sidla 36. killed in anger Oeonus son of Licymnius. Ecphr. but both Enarsphorus can and the swift Sebrus. which is quoled in Cram. ApoUod. 3. THE POEMS OF ALCMAN BOOKS I AND II MAIDEN-SONGS 1 Sclioliast on Clemeut of Alexandria There was a Spartan called Hippocoi>n whose sons. called after hini the Hippoco(3ntids.P. 7 Jur. extant parts. 6. giving the length cf. : From Polydeuces. 36 . Plut. irpwFov^s fr. and he killed many of them and was wounded in the hand himself. Christod.: : ALCMAN of tburteeii stanzas inade the first seven alike of one and the rest ahke of another in these tlie diplt' is placed whcre the second ])art be^ins. 11. because he had killed a dog of tlieirs.. 10. but without authority (must begin with a vowel) ^ so pap. nietre.^ Among the slain 'tis cannot reckon Ljcaeus. Alcimus the mighty and true I a First-Century Papyrus ^ I Heracles was aided by T^^ndareiis and the Dioscuri the suggestions of Egger and others for filling these gaps 1-34 by tracing letter-groups on photographs of the 11. Paus. X. Heracles" revenge was to levy war upon them. 3.

LYRA GRAECA TOV (BiaTCLV YYlTTTOa^WV T€ TOV KOpuCTTaV EuTet^^r^ T6 FdvaKTCL ^ T Api-jiov [" AXfCtfJLO^V T€ 5 ^ ["A/c/xoz^Ja t' €^o)(ov i)fiiaia:v.d]pLT€<. avTOL 52 . 25 . \r) ^KalFo^v Tov aypoTav [(TTpaTa)] /jL€yav FjvpvTov t6 10 ["Apeo? a]v TTcopco \^' A\Kcov]d T€ [i/powv] kXovov TO)? dpi(JTrD(. ]eBa' TO)v 8 dWo<. ct^Te] * fiapfidpw fivXdKpq) €aT airavTa<. [jjL^Tt<. . ^ 7rap7]ao/jL€<i . [KpdTna~\€ ydp Alaa rravTCJV [Kal IIo/oo]? yepaiTaTOi 15 [atcbv' a7r]e5tXo9 dX^d. . .dpa]<. (^t###BOT_TEXT###i9 S](t)Kf: Bcjpa d]\yap€ov ](t)X€a^ ')]f3a ^'Xpovov fji]aTaia<^ SO . l(j) a\Xo<. [6(f)diT [toI a(f)€aiaL K. 6l\K€v Atda^. . ydfiev Tav W(f)poSiTav F]dvaaaav r} tlv [fxr/he 7r~\)]py]To) [Tav Ild(f)a) [dpyvpei^^rj jraiSa UopKO) 20 [etmX-tft)" X. Ee Aco^ hofJLOV [lapov €^oi]aLv ipoyXecf^cipoi. .]TdTOi ]ya^' caifjLcov ]. dv]6pco7Ta)v e'? copavov iroTrjaOoi.

tlie a captain ^sjreat Eurytus and Alcon that were supremest of heroes in the tumult of the mellay Not ? so . t^pccwv ^ less prob.ALCMAN Ilippothoiis the Scaeus by^ that was so shall -we pass and host. prob. nor seek to of Paphos or wive any silver-shining daughter of Porcus to the sea . by an arrow and another by a millstone of hard rock^ one and till own ' tlie ^ * folly did all These by their seek them their dooms^ and their Xereus war were had to Hell. . 2 evil Heaven pap. described of the Giants against pap. to gap too wide 31-34 for quite certain restoration 53 . FavwcTa. And and [Acmon] noblest of demigods. Areiiis^ of helmeted. . and they perished one of them . vanquished were they eldest of Gods^ to wit by Destiny all battle- by the and Device^ and had not so much as a shoe to her their strength Nay. mortal foot. ' tlie mutilated stroplie prob. Euteiches and chieftain man may not go soaring to wed the Queen Iieavens. . inviolate also is of ^ that chamber of Zeus where dwell the Graces Avhose eves look love^ went tlie .

/iei> ^EveTLKo^' d ^e Ta9 i/id<.M. wt' ^ dK7]paT0<. aiMV TiaL^' 6\^L0<.' dpyvpiov TrpoacDirov 55 To T hiacpdhav tl tol Xeyco .'' d Se SevTepa TreS' W.LYRA GRAECA {^acppaSiaLCTLV i7T6]'a7rov. evcfypcov dfjiepav 8ia7r\€K€L 40 dK\avaTO<. 'AyrjaLXopa /lev avTa. SoKet t dp if}' eKirpeTTij^ tux. MTrep al ri/jL€V avTa tl<. 6aTL<. €Trr]V(v and E. tmv ^ pap. iv ySoTot9 aTaaeLev iTnrov irayov dFe6\o(p6pov * Kava^^drroSa Tolaiv viroiTTepihLwv oveipwv. e ioiT l^ap. Sch. epya irdaov Kaicd 35 ecTTt Tt9 6 8' dXaara Be pbrjadiJbevov. hpa/ieiTai' ')(^pvao<.. eycov d deLdo) 'A7t8w? To ^co9' opcj F (OT ^ akLov ovirep a/jLiv AyLSco /jiapTvpeTaL (paiV)]v e/ie S' ovt iiraivev^ ovT€ /jico/ji€a6ai vtv ^ d K\evvd y^opayo'. . ^ " E 54 pap. aed\. vlV inroTreTpidioov.yiScov to FelSo^ 'ltttto^. 60 Ta\ Tre\eLdZe<.. ^OpOici (pdpo^. ^aiTa dveylnd^ iiravdel ''Ayi]aL')(^6pa<. biit in Gk. o .. "^ 50 r/ ov^ 6pj/<. 2 ydp ^ pap. ^i/3r]va) Ko\a^aio<. '. d/iLV (f)epoiaaL<. ^ 45 ovh^ d/ico<. Ke\y]<. * pap.

if he were set to graze among the unsubstantial cattle ^ of our dreams that fly.. I ^ sing now of the out a tear. Ae^. 31 (pdpos (8heppard) ^ 55 . dreams give us unsubstantial. Bright I see it as the very light that is Agido's. 36. c. "^ the invocation was prob. Phot. and secondly tliat the tresses that bloom upon my cousin Hagesichora are Hke the purest gold ? and as for her silvern face.

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erily there is a vengeance from on high. Farth. Pind. liow shall I put Such is Hagesichora and it you in express words ? whose beauty sliall run second not unto hers she yet Agido's. /xoy.: text opQ/iai: pap.2 And yet neither praise nor blame can I give at all to such as she without offence to our splendid leader^ who herself appeareth as pre-eminent as would a well-knit steed of ringing hoof that over- cometh in the race. dnves Pleiades Orthia (later Artemis Orthia) was a bird-goddess * against the conipeting choruses ^ each of the perforniers of the ritual and took place in ^ dumb-show . Bibl. . rr. 239 and her second were apparently called. See you not first that the courser is of Enetic blood. part of the ritual tliat the dancers should be cousins ^ the leader (cf. part as these word. horses sung it position as Choir-leader. types ' pap. not wonderfulh' fine. suns Avhich the same Agido now invoketh to sliine upon US. [. as for me. these our Doves "* . Agido being second in command was prob. avTa ^ op^iai pap. run shall as courser Colaxaean to but unto Ibenian-bred for as we bear along her robe pure ^ rise to fight for us to Orthia. Procl.]s SSch. and liappy he that Aveaveth merrily one day's weft withAnd so. cpapos: H(hi.s were * she takes her nickname from her ^ i.ALCMAN imasfinations brought them into suffering never to bc foroot. cqy. . and perhaps dressed this was also tlie name of the constellation of the as. .

ovhe Xv\aKi<. ^ ydp pap. 'Ayr}aL)(^6pa ^rdp^ avTel. ^ pap. Be vedvtSe^ [ip]rjva<. ovn ^ pap. fiev dvBdvrjV ipd)' ttovcov dpiv idrcop eyevTO- \e\aKa ^Acotl fia\i.^ 80 ^AyiSoi T iKTap peveL ScoaTijpLd T djx e^raivel dWa . KOi TeXo9 /LtaV e'? Tdcjyo^. ov ydp d Ka\ia(f)vpo<.aTa yap 90 e^ 'Ayrjai-x^opa^. ydp tl 7rop^vpa<^ Toaao^ Kopo^ mt d/jLvvai ovre t)5 ^ ^ OVTe 7T0LKi###BOT_TEXT###<.LYRA GRAECA vvKra Sl dfji^poaiav are ^yjptov aarpov dFeLpojievai ^ p..^ aXX' 'Ayrjai-^opa pe Ti/pel. SpdKcov irayxpvcrLo^. 85 e'i7T0ipi K' eycov p. re Kal KXerjaLayjpa' ou5' e? AiVTjai/ji/SpoTa'^ evOoiaa (paaeh' """AcTTa^t? re poi yevoLTO 73 Kal 7roTLy\e7roL ^ '^lXvWa AapapeTa t epard re FiayOepi<. . d\)C ovh^ ApeTa cneiZr)<^. Kop^aL.. e pdTaf.ev avTa 7Tapaevo<^ p^drav d^ro Opdvco y\av^' eycov Se to. TCLV dpd<.dj^^ovTai. aveip. cipLov (first [w]Te ^ 56 e^re^av "* ar]p\a(l)6p^w t erased) aa. he^aaOe' aLcbv ydp dva. ovSe /liTpa AvSia veaviEcov iavoy\e(pdpcov dyaXpa' 70 ovBe Tal ^avva)<. aLOi.

My own singing hath been nought I that am a girl have yet shrieked like a very owl from the liousetop albeit 'tis the same ' .ALCMAN amid the ambrosial night not as those heavenly Doves but brighter. .^ For 'tis true the others have run well beside her ^ this strophe names the chorus and their leacher.7roTi8A.ankled Hagesichora here present and abideth hard by Agido to commend our Thosteria ^ ? Then O receive their prayers. nor again shalt thou go to Aenesimbrota's and say Give me Astaj)his and let me see PhilyUa. and ^ from defeat in the competition deacribes their dress ' the festival of Orthia. 41 the procession seems to have taken phice at ^ the ritual was apparently apotropaic ^ either daybreak a modest way of describing their expected victory.6Jrot P^^Pthe brackets 92-101 mark very faint and uncertain traces 57 . For is not the fair . for I am safe . ' . aye even as Sirius himself. of which this song and dance was * (the a is long) epithet of Orthia prob. nor the Lydian wimple that adorns the sweet and soft-eyed maid. to tlie object of the ritual . uff-ra/iui/ai ]<rTe ' * ^ pap. ye Gods for to the Gods belongeth the accomplishment. seeing tlie Goddess is the healer of our woe 'tis Hagesicl\ora's doing. hers alone^ that the maidens -^ — . — girFs desire to please Aotis^ so far as in her lies. the invocation of the sun nientioned 1. TrdpVvTe? * P*P. And for the end of my song I will tell you a passing strange thing.with Hagesichora. or ref. For neither is abundance of purple defence enough/ nor speckled snake of pure gold. nor yet the tresses of our Nanno.' cf. part of the ritual meaning 'dawn-goddess. and there is no Damareta and the lovelv lanthemis need of that. have attained the longed-for peace. nor Thylacis and Cleesithera. nay nor Areta the goddess-like.

aor. . 8a. v ai ^ pap. cus eo"Tt StjAov. Kv/Sepvd^T^a 5' e^^ez^ vai^ pLa[Kpdv ottJo. yevo^ ovS* ^KpvatxaiO<s ovSe rroifii]v'.rjv avvd\/eLe tls \eyj}V 'o-J5' ipvaixo-^os ohhe iroiixr}v. diro^p. A— C €tS 'Epvcrixv s. irapd avcpoiaL : : 58 . aeprjs' ap]]S.fiiTTTOTe ovv ovK €49 dv)]p dypDiKO<.a7os e:p7l' Ei $e t^ ovde jroifJ. 1 mss here dypLos Trapd aoTpolaLV B sugg. 21 quoting 4 lines more to the poem ^ E. irap' 'A\K/xavL ev apxfl tov devTepov twv YlapOeveiccv dfffxdTccv (prjal ydp' (pTjffiv oTL ae(TriiJ. 10 dyL on the edge of the lost foiirth column shows that there were ' ^ so Chrys. Sixws ovv eaTai. %[/?V*] a[v]T(x)<. Byz. Hages. BaaTaaris.ei(ioTa. Tcp ^ 95 /crjv d 8e Tav ^r)p7][vi]Scov doLhoTepa fiev [ov)^l'] cnal <ydp' dv[6 pcoTTCdv he viv] TTaiScov dep[aipb V7repd]r ^ 100 (pdeyyeTat 8'[ap' wt' eTrl] '^dvdo) d KVKVO<^' B e^TTL cr^ep]a) 2 Steph. yos toIs apx^iois. ^apBicov dir dKpdv. to 'EpvaLxo-tos npoTrapolvvo/xevou ev toIs To x^^^^oz/ iyKe7(T9ai. 148. 'Epv(TLXO-^os. cf. rrphs h Th TroLixr}v ap/x6^L0V eTraxBr]aeTaL. eQ:>LK6v iaTL Ka\ Trpo-nepL'HpwSiavhs iv Tots Kad6\ov Ilpjacf^iaLS Ka\ UTo\e/j. 6 to ^duiKov TexviKos ydp .LYRA GRAECA €B[pav iKrap aWatJ.' Trp65r}\ov ws TrpoTrapo^uvO-naeTai Kai 5r]\o7 tov $ovk6\ov fj Thv aLTv6\ov. Ka\ Thv epvaci} ixihXovTa. el yap to) aiTdaO-ju' ^ pap. Alc. irepl ov iroXvs poalai ^av6a KopiiaKa * AtoTKovpors ttoXis 'AKapuxvlas . of alpoo cf. irapdKOLTos. dWa (deaaa\hs yevos avvaiTTeov. Hesych. 122. tl^^ ovhe ^ecraa\o<. is feni. o iaTiv ri ^ovkoKlkt] pddSos. '^ ovSe (jKaio^ ovSe 7rapd(TV<^6<. 3: * a coronis or (lividing-mark for -Ql cf. coi-rects to toj bec. TrapdaLTos: mss 1.L idviKols.

breaks off as we begin a tinal rcf.' It will be ambiguous then. 46U ('Epvcr. : ' . . 4. but a man of sties^ highest Sardis. ' No boor art thou nor a lubber^ nor yet a tender of nay nor Tliessahan-born^ nor Erysichaean (or drag-statt'). Str.vicon Erj^siche A city of its adjeotive is 'EpvffixaLos Acarnania Er^-sichaean. in his Univcrsal Prosodj/. liere as on shipboard the steersman miist needs have a good she may not outsing loud voice. and Hagesichora the Sirens^ for they are Gods^.' about which there is niuch discussion in the old writers. where he says : . 972.' an appelhition wliich is properly followed b^' keeper of sheep. and that it means 'cowlierd' or 'goatherd. and Ptolemaeus but if it is connected with a keeper of sheep. in Alcman near the beginning of the second of his 3Iaidcn-Songfi. to Agido with an exphination of the jest A. but I would set her Aye^ she higher than any child of human breed. "For if it is to be joined witli 'ThessaHan-born' it is an ethnic adjective and should be accented circuniflex on the penultimate" thus Herodian. 10. . A-C To THE DlOSCURI Stephanus of Byzantium Lc. nor a keeper of sheep. ^ cf gQji^ ^p^ ^]^ follows H. 58) the pap. as is clear.' " ^ — ' : ' ' ' ^ the yellow streams of X. . 2 . it is obvious that the accent shoukl be acute on the last but two. . glossed KaXvdcCvtos) 59 . For Herodian says that 'Eputr/xaios is niarked in our texts because it is accented proparoxvtone though an ethnic adjective and perhaps therefore it really contains xatos 'a cowherd's stall' and the future of ipvui to draw. sings like a very swan beside tlie yellow streams of Xanthus^ and she that cometh next to that knot of — ^ yellow hair . in the processional dance .: ' ALCMAN eveii as horses beside the trace-horse but .. are lier own hair which is called goklen above (1.

89 [Talis Amyclaei domitus Ponuci.A. Sch. ekarrjpes. -tjs ^ ]j '. '0/xiipcp /xev . Pind. .XKixaviK0V u}v6jxa(Trai. G. Od. 'A\i(/LLauiKhv (rxvi^o- ri^v /uecra^oi' '''o ^ 5vI'ko7s 6v6iJ. Kal . 3. Pind. Sa/idvrop' iTnrora (70<pa) ^ Kat YloWvhevKe^y KvSpe C 2 Heph.dv6'. Bern.a(Tiv ^ reaofapa Se irapa r£ Troirjrfi roiavra Tr\eovd(ei Se pr)IJ. : | Ael. H. Eust. eKarripe. evQvs yovv ev rfi Seurepa wBf irapeiKriTvraL' ^ Q4(tlv tt\t]9uvtiko7s . rovro rh crxVfJ'-'^ Trap' 'AAKuavi ry KvpiKw. 12. Kai' ev Krjvo<^ adXeaac TroXXot? Kr}p6vo<^ fiaKap^i avr]p'^ 3—/ AiocTKOWpovs cts [y] €tc Ata Ai^Ktttov) 8ch. mss -Topes or -rripes: Sch.(t(Ti. KdcTTop re ooKewv ttcoXcov . 3 olov .f rw 'irrrrcf Sovri rrvyyvw/xr]v veixeLV d^ioV TroLrjrris ydo' Kal 'AAK/xav Se /ii/xov/xevos ev ToTs roLovTOLS "O/xrjpov ovk ttv (pepoiro alriav. Xanthum fratri eius concessum esse. [tt. E ^ Kdarop re mss 6vo/i. rax^^^v Sa/idvrope E. Verg. quorum Polluci Cyllarum. .LYRA GRAECA B 2 Hdn. ^ prifxdrwv mss Kd(Trope KatTTwp Te wKewv Sch. 3 . . /xaKpwv ^roL yap Kriyei els Svo OecreL]' (Tvixcpa^va. oQev kol 'A. S/xarripes UoKKvZevKes E: mss UoKvSevKeis. 61 (TXVMiiraWr]\(i}V ovoixar(t}v TT. ovv (poovrjv s.s habenis Cjdlarus] equos a Neptuno lunoni datos Alcman lyricus dicit Cyllarum et Xanthum. : : : 6o B .

. 4. and Alcman should not be blamed for imitating Homer in such matters. deser\ es our for giving the horse Xanthus speech . 1667. Od. Pind. To THE DioscuRi ior To Lvcaean Zeus) Schohast on Vergil [Such was Cyllarus when lie bent to According to the h'ric poet the rein of Pollux] Alcman. being a poet.k^uoh') TlwXvhfVKr^s K7]fi€vos Kvhp\ B: mss E: mss nom. om. : pardon 1 Od. : reclining "yonder in manifold content the Blest 3—7 ' . : O ye tamers of swift —— and noble Polvdeuces Castor horsemen 2 steeds^. : Aehan On Animals . . • .ALCMAN 2 Herodian on Grammatical B Fiijurcs : Tlie Alcmanic 'figure ' that whereby phiral or dual nouns^ or verbs are placed between singular nouns which go together. cf. Pron. among . Tjfievos ^ mss aaKfaiu Hcph. 33ob ('AA. 318. 34 ApoU. ye skilful ^ C Hephaestion Handbook of Metre [on syllables long by posiFor either the word will end in two consonants. (rdKeaai: Tro\o7s: 6i . . P:ust. It occurs four times in Homer but it is more frequent in the lyric poet Alcman whence its name. . for instance and ^a/cops blessed. P. the horses given by Xeptune to Juno were named Cyharus (or Bowlegs) and Xanthus (or Bayard). includes adjectives ^ ref. . Sch.^ . . Homer. Sch. h-6ifi€fos. One has only to go as far as his second ode to find is . to Heracles ? 10." in this tion] : And . 513. CyUarus being given to Pollux and Xanthus to his brother. * cf.

etKoaiv ovofxa^ojxevri TrcTpos rctfv Hecpvos iJ. Aia AvKalov Gr.€yd\ccv iirl oh iJii^uv. yiayaa Xiyeia TroXu/A/xeXe? alevdoLSe.\wTov. Tlecpvos Se aTrexet TrpOKelraL Kal CTaSiOus 5e ravTr) rb vr]als uvojxa- rexOrjvaL 5e ivravOa rohs AioaKovpovs cpaalv ol @a\aua. IJ.raL' rovro 'A\K/xava iv aajxari olSa eLTrovra.dvas ^ 'A\KiJ. Qa\afj. Eh. 26. . 5 41. 1.au TroLTfcra^ '4\oi€v Kal rrjv aafxa is @r]a4ws ayxyoLev aixiJd. dAA' "Ep/xrjv rov is TleWdvav Kou. ras AiplSvas.^ /teXo? / veo)(^/jLov ' 62 mss ^Adiivas dpx^ ^ B 7TapaevoL<. rpacprjvai 5e ouKerL iv rf) Hecpvci} (paalv avrovs. oeli' oeiSe. 8—15 Max.iaavra /xev 5r] Ka\ elvai.aaij. Tohs ALOcTKovpous ws \. deihev. : mss ae\ 5e. ofxo^s Qrja^a (prjalv aurov aireLvai.S}V Qa.r]T€pa 6 Hesych. Plan. ws irapa 'A\K/xaVL(43) 01/T17 yap r] arpocpr] e/c rpiuv iar\ kcv\c»}V 5aKTu\LKwv lao/xerpwv auyKei/xevT]' e| avo/xoioov 5e ws roSe' M(wo-' dye. 'Aaaveayv ttoXiv .LYRA GHAECA Paus. alev oetSe . Paus. 'A\Kddov]' [tt. ad €ts Herm.<p'i. 510 arpocpr) Ka\ avri- arpocpos Ka\ iTrcvdos avarrjixara ixerpcnv iar\v iv \upLKo7s •noir\fxaaiv' /xev ouv arpocpri iarLV t/ Trpccrr} rideixevr} ireploSos iK Suo ^ 7) iT\ei6vcav K(t)\ci}V oixoictiv 77 avo/xoicav auyKeiuevr]. 3. 2 Hecpvovy [tt. Walz o. .

3 63 . as in this of Alcman (43). E. Him. and begin a new lay for maids to sing. o. Miise. 3. and that it was Hermes wlio carried them to : longs from . Prisc. This according to the people of Thalamae Avas the birthplace of the Dioscuri. Tcr. : Aphidnae. Apoll. 428 Keil {Alcnian in primo). where it is composed of three dactylic lines of the same metre. Synt. 1. agrees with that of a song of Alcman's but they say that though born they were not bred there. Pellana. Of these the strophe comes first. 8-15 To Lycaean Zeus ^Jaximus Planudes Oii Hermogenes The metrical systems of lyric poetry consist of strophe. antistrophe and epode.ALCMAN Pausanias Dcscription of Gnrrc [oii Alcatlioiis] AlciDan in a song to tlie Dioscuri tells us how thcy seized Aphiduae and took i)risoner the niother of Theseus. I know. 2 {'A\K^iau h d ^xeXwu). biit says that Thescus himself was not there. 4.2 1 cf.^ : 6 Hesychius Glossary : City of the Athenians that is. and in this. sweet clear Muse of the many tunes and everlasting song. II. 2. off whicli there stands a pile of rock of some considerable size.M. Erotian 99. 589. Sch. Pausauias Description of Greece [on Pephnus] Twenty furThalamae there is a place on the sea called Pephnus. 242 2 cf. and tlieir testimony. Mcir. Or. and consists of two or more similar or dissimilar lines. where it is made up of unlike lines : : Hither. known by the same name. 47.

Tro. 1 girls (cf. 2. . a^erepw^ . 109. Pron. the Dioscuri. v/JLe Te Kal 'linrw^ . Aihs e/c TrpooijJi.LYRA GRAECA Vita Arati Biihle 2. 437 ayuoova-i 5e oti koI UipSapos KareXpvo^aro rcp (irei rovrui KeyuiV '"OdeuTrep koI 'Ofx-qpiZai apxoPTai. 23 irXe^aTa yovv ecn irap' eripoLS evpelv avrl rov vjx^repov Ka\ TzaKiv irap^ avrif avr\ rov (Tcpuiirepov' 'AXKfjLaV (T<ptTepov Trarepa .^ ^ v-rrh oiKrir^fipiov (pa<ri rrjv yrjv rfj? ras Qepdirvas rwv Aio(relvai Xeyovrai Oepdirvris oas 'AXKi-idv (pri<jiv. 210 Kovpccv irap' ocrov airodavovTes. -B : mss €70» Se aei croi ixe eK A. fr.iov'' Kal 'AXKjxav ejGivya 3' deLcro/iat €K Ato9 dp-^^ojjLeva} 10 Apoll. 11 Sch. Eur. 8) seems to have 64 the feminine shows the song was sung by ^ prob. Valck. mention of whom been added to this hymn at the request of - . . apx^^lJ-^va ^ mss ^oivres ^ Nem. .

" and Alenian ' ' : Biit of this song of mine the beginning shall be Zeus. saying Where the cliiklren of Homer also do begni. as savs Alcman the Spartans when A. niade use of this line. I. Ye 3 and your : horses 11 Schohast on Eunpides Trqjan JFomen They call TheranDae the dwe Hng of the Dioscuri because thev are said to be beneuth the land of Therapne when they are : dead. .a.c.' ALCMAN LifeofAratus: They are unaware tliat Pinclar. to wit the proem unto Zeus. Him. passed through Sparta on his wav with the poem to the temple of Lycaean Zeus in Arcadia: ct. l.- 10 Apolltfnius Tke Pronoum: This is ofteu found among other writers. a<t.. 65 VOL. . for instance.4r^pou irar4pa instead of v%r^pov jraTe. your father and again in the same author LilesioclJ af^repov is used for ccpwirepov Alcman says . too.

B : ^ KeK\dy' Hes. iV ivepyos utt' avTrjs yevoiro. Th. tcl)? reKe <Foi> dvydrr^p V\avKw pdKaipa ^ E: ms& Herm. tov TlapacpOey/xaTos' aKOveis Se Ka\ tov AdKcovos XeyovTos els avTOv t€ KalTov xopo»' A Mcaau k. 1. 3. 508 tt. Metr.^ evTTvpyco ^epdiTva^. 14 Aristid.h. . 1. 95 ^ yeyevr]TaL * E: "^ cf. 8a. -B: a ^ cf. 146 [AiVcoAis ec Aao(p6vTr]s TrjS TlXevpwvos AvSav Kal 'AXOaiav QeaTLC/j yeveaOai atviTTerat \eyoov <pr]aiv' OTL 8e r\avKOv eVrl /cal 'AA/c/xaJ' .t.X. . . 31 mss 'AA^aias . 15 ArjSTj]* ^epeKvZrjS 5f eV tt) j8' Sch. ^9-* dWd Tw Foira. R. (hen : — — Kai vao<^ dyvo^. sic [ //•. . 8 Z. Similiter '^(epaovhe Koxpov iv (pvKeaac Tnrvel nam quarto loco spondeum posuit. 2. Ap. 3. 2 d Mwcra KeK\ay d Xlyeia ^eipr^v^ VLV ovK dp eheve ^ KaXrjv efxe. . irapOeviKai. 428 Keil catalecticum trimetrum fecit habentem in quarto loco modo iambuin moilo spondeum. 2. . ' . eiTa uairep e^ecFTr) Kai oTL TovTo eKilvo <i6^ x^^P*^^ avThs avTl TTjS Mov(rr}s (pr](Tiv . Toaavrav epTreTrvevKar avraL 6 vpiJLe<. TrpoaTLdei 5e KaKeivo.] LYRA GRAECA 13 1-2. . producitur cpv . B ** * cf. hic quarto loco spondeum habet. . Trr. oTi avTrjs Trjs Movarjs Serjdels KaT apxo.s 6 Troir}TT}s. . from above 66 15 eTTLZevFr]v suppl. Alcman autem in primo Prisc. -B: mss a^j^as mss KeK\r]yr] or -et ^ Welck.

: by the blessed daughter of Glaucus and Suid. aid. Byz. 3 then . . : ' : : The Muse e. 4. he has given the fourth foot a spondee. 8. to invoke you yourselves^ ye maidens. too. * the calm sea Sch. here. . 14 You hear the Aristides On the Extemporisecl Addition ^ The Laconian. Phot. liere . ^ . I.g. 14 {'AXKfiau eV a). Paus. saying to himself and the chorus Muse' etc. 1. her But crieth aloud^ that Siren clear and I had no need. but that Leda was daughter of Leda] : Glaucus . too. he then seems to change about and says that the chorus who is singing the song has itself done this instead of the Muse.sonietinies with and sometimes without an iambus in the fourth foot thus [ fraj. 20. seeing that liave inspired rne 15 Scholiast on Apollonius of Rhodes Argonautica [AetoUan It is true that Pherecydes says in his second Book that Leda and Althaea \vere daughters of Thestius by Laophonte daughter of Pleuron . sweet. Similarly : dumb upon the shore among the Falleth . ©epaTri/at to a written speech of his own 151. Pind. cf. with so loud a voice. 13 Piiscian Metrcs of Tcrencc : Moreover Alcman in his first book has a catalectic trinicter . Steph. &€pdTruat. is impUed by Alcman thus his sons Harp. fourth foot. note also that having at the outset asked the Muse herself to inspire him. 3. . the temple pure of towered Therapnae he has a sponelee . for the tirst syUable of (pvKeaai is loug.— ] ALCMAN 12. 3. — And . - tangle . Z. ^ 67 F -2 . in tlie ^ . it seems.

678a Kvtraipca Welck. 485 TrepiaTTTeTai yap ve^pidas.M.e. Eust. Pron.LYRA GRAECA eisHpav^ 16 Ath.v' 'E/Ae AaToiha Teo ff' dyeoxopov^ 19 Sch. 39 KaXa' rh Ka\d nap' 'AKKfxavi KaWd iaTiv. "ApTe/xLv piT^Lpa- "ApTapLi. 486. II.4va) . 75. /j.. eXixpv(Tov]' [tt. pvTeipa to^cov ^ 18 Apoll. cf. iTov KaWd fjLeXicrBo/jLeva * t\v B ^ irvAfuva Kr]p. 1648. ayi^xopov Od. mss nv' 15. 46b * i. 'AXK/jLaV Sep/naTa 6i]po)v e7ra/jLjj. 12 -^ aio KaTafiaKXfL ro a els to t 'rrapa 'h

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{ixa.^ 1 E. 7: mss Kvirepw : : E: mss irapa 6S 5' axocxopov ^ B-E: mss eirdfxeiai (or 4cr(Ta/j. * Ath. 21.vr^uovevei avTov 'A###BOT_TEXT###gt;{/j. 263 Vet. 7—2 3 €ts Miller Misc.av iv rovTois- KoX TLv evxo/^CLt (f)6pOLaa ^ TovS" eXiXP^crw irvXeoiva Krjpdrcd KVTraipco. 680f 15.eva Trepi ^ 20 E.M. mss TrtAew aKrjpdTuv Boiss * B Adesj). Acopi€vaiv.

155. I and lovely bedstraw To Artemis2 17-23 Magnum Drawer Old Etymologicum O : : Artemis. translate because though 'galingale' from the same Jdv. 69 . 9 not it is ^ hvmn all Oi. 4.ALCMAN To Hera 16 Athenaeus Dodors at Dinner [on the helichryse or dony] Alcman speaks of it thus : cassi- : To thee also pray with this garland of cassidony ^ for an offering. 13. : clad in the skins of the beasts of the field 20 Eiymologicum KaWd as in Magnum Alcman Ka\a.r . ' pretty sung of so prettily ^ I tlnis nieals). A. Me who am : The pronoun o-eo changes tr to t : choirmaster as well to thee as to the Son of Leto 19 Scholiast on the lUad compare Alcman : For Artemis is^clad in fawnskins . Cram. ' : the word appears : ^ it was used for lyiug on (at bedstraw sometimes tranylated these fragments are not necessarily ' cf. 63. drawer of bowstrings 18 ApoUonius The rronouns compare Alcman in Doric .P. Apoll.

ari [xaaroei^els civai (pdcKccv avrols AaKct^vas Trpos ras rwv yvvaiKccv haridcreis. 14. Ka\ fxecrov^^Apyos^ Ka

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AKKfxav^i' . xp^J^J^^ct 5' 6 "AKKfxdv 6pi8aKL(TKa<. KOdixiav elvai ovBe Tw 'H\i65oopos rofx-^v Ki^aATaXo) ovhe tco . Tr€pi(p4p€iv re avrovs orav fieWcicaiv aSeiv rb TrapecTKevacxfiivov iyKci!fxiov rrjs Uapdivov al iv rw X^PV aKoKobOoi. . yei 5e ovru^s rpircf TlcpX avrovs' 'A\K/xa. Fcivaaaa Ato? dvyarep^ 'AXKfjidv.<ri oTov ISvpavXa 23 Ath. S. 50. 114f [tt.LYRA GRAECA 21 Apoll. ua^div]'AKKfiavi dpihaKicTKai al Se rtrap Xeyofievai al avrai elcn ra7s ArriKals OpiZaKivais. 28 oxj ol avrol Act>pie7s iylnya Ka\ eyccvr)' yap iycDvya.a5a . Yldcf^ov Phot. vcbvTO<.bjxolcas Ka\ 'S. 3. Kpi$avas 'Tr^aKovvrds rivas ovo/xatrriKcos ^AiroX5ccpos irap' ^AXk/xuvi. Pron. vwvros- TrepippvTav (Tci^pevovros: mss . re /cal /cpL/3dva<. cf. KvTTpov ipLepTav \iTcolaa Kai * mss eycnvya KpL$avcorhs or -tws ^ ^ B. TraicoviKov]' rwv iraLccviKuv rrjv Kara ttoSo Choer.A. 24 8tr.vos.ccai^ios iv r(S (T-)(r]p. 5e' <pr.340 [tt. Ibid. . 70 (rxhfxo-rL ro ocs ' av crvyKara'E/\. €1? 'HAiSos]- AcfipoSLTrjv Troir\rLKQ Se rcvi XiyeLv ro fxlpos r^ o\cf (paal rov "Ofxripov. 646a KpiSavwv]' [Tr. 22 ad Heph. 13 [tt. . .

as throughout (ireece and midmost Argos aiid Alcman. 4 135 (on hymns of invocation from C3'prus. : niaking a pile of lettuces and pan-baked loaves To Aphrodite 24 Strabo [on Elis] They say that Homer. as for instance : : nor yet from Cnacalus nor yet from Nyrsylas ^ 23 Athenaeus Docfors at Dinner [on pan-baked loaves] According to Apollodorus this is the name of a kind of oake in Alcman and similarly Sosibius in the third Book of his treatise On Alcman. . by a poetic figure. says : ' ' From the . lovely Cyprus . calls ^ Men.) : ALCMAN 21 Apollonius Pronoiins iywvrj ' I compare * . ' ' : . Walz 9. Paphos cf. Paus. The Same [on loaves] The dpi5aKi(TKai of Alcman are the the passage of same as the Attic dpi^aKivai or lettuces Aleman runs thus : . S. declaring that they are shaped like a woman"s breast and are used at Sparta for \vomen's feasts. Never froni The : saine Dorians sa\. being carried round just before the attendants in the chorus sing the eulogy they have prepared in honour of the Maid. "J. and tlie sea-girt haunts of Artemis. puts the part side by side with the whole. ' . etc. Cnidus.iywuya and : [did] I^ O queen born of Zeus Alcman. Aphrodite ' 71 . cf.S. 22 Choeroboscus on Hephaestion Handbook of Metrc [on the paeonic] Heliodorus pa

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s that the foot-by-foot caesura is regular in paeonics. Bh. ^ iic. too.

/3aXe Kr]pv\o<. Aiit.^ Svvarar /SaXe 3?. Kal utt' 9. e)(^cov.uai iori rh viro rov 'A\K/u. laphs = lephs perh. ^ cf. ^ ' E: aSees of an rightly ^ Sch. .: LYRA GRAECA 25 Ath. cf.av yLteXo? 'yeyXwaadfievov KaKKa/SiSctyv crro/ia o-vvOe/jLevo<. /1 yvla irapOeviKal /meXiydpve^.avos Xeyo/ievov TOVTcp avvtfKeLoijxevov (pTjalv yap aadevrjs wv dia ro yr]pas Kal Tols xopo'^ oii 5vv3. dv9o<. 40 tt. 1. TloXXaXeywv ' E. KaXovvrar KfipvXoi 6pxv<^^^' ov 09 eri. ^ 6pvt<.s eVyj^e Se loud-voiced. X^yovros ovtws' eTTTj elpe he ^ ye^ Kal vrr' ivicav KaKKd^ai. 390a KaXovvTai Se ol vepSiKes 'AKK/xavos. iep6(f)covoi. (prjaiv.. irrepwv XaBovaai. this use of the gen. of the noun instead Heck. 26 Hist. yvvaiKi Se Uaafy^dpt/a. 27 (23) rwv 5e aXKvovuv ol apaeves orav ovv viro rov yr]pws aaOevriccoai Kal (pepovcnv avrovs al ^TjAeTat iirl ruv jjLTiKfri SvvoovraL irireaQai. 2. : eirri : 95 : : the halc^-on was popularly connected with winter ^AXK/xdv Herm. 27 rl 5e 6 ruiv trap6evu:v iiraLveTris Aristid. ^ if adj. right.^ TToAAa. 6 avT]p Xeyeru}.fxevos avixTrepL(p4pf(xdaL ovSe rfi rwv TrapOevccv Car. personifies spring m5. 'PTjropiKf/sre kclI avfx^ovXos XiyeL 6 AaKeSaL/xovLOS ttoitjttjs ** . yvvr] 5e ois av aKovari xaipeVw.. B ^ Emperius mss eSpe roBe * Boiss mss vrjXees but Phot. eh/v. KvpaTO<. d/i akKvoveaaL TTori/raL (f)epeiv t' eirl vrjSee^ ^ r/Top dXiiropc^vpo'^ eiapo<. aacpws ijx<pav[^wv ori irapa rwv irepSiKuv aSeiv ejxavQavi. Mir. ws A\K/j. UoWvXeycov'^ 6vv/i dvhpi. YloXvjxeSaiv Herm : mss : mss iroXXa Trao-t (Trao-jj) Xeycvv X^^P^d .

73 ." by which he means tlie woman be his clioir at his own 508. their mates carry them upon their wings and with tliis is connected the passage in Alcman where he says that age has made him weak and unable to whirl round with the choirs and with the dancing of the maidens : . 1. . A. the poet of Sparta ? : Be the man's name Say-much. KripvKos. 2. 9.122. E. Ar. Cram.^ 26 Antigonus of Carystus Marvds The cock halc^^ons are called ceryls. . and Alcmaii did put together the tongued utterance of the caccabis. 347 d. who says : : Aye. 121 (Goettl.M. Ac. 18«). the Spring's own bird that is purple as tlie sea ^ I 27 And what Aristides On Rhetoric saith the praiser and counsellor of the maidens.O. fSch. 046.) ^ the poet expense - is cf. notably by Alcnian. 43. tpvis. 2<)5. 250. clearl}^ indicating that he learnt to singfrom the partridges. such as flies fearless of heart with tlie halcyons over tlie bloom of the wave. : O maidens of honey voice so loud and clear^ mv limbs can carry me no more. "let the man speak and content with whatsoever she shall hear. jestinglv praising Bek. Ath.Suid. 299. Would O would God I were but a ceryl. s. the woman's Gladof-all. Phot. and when they grow old and weak and unable to fly. Zon. 1. An. to raake his twine of words and music.ALCMAN •25 Athenaeus Doctorsat Duiner Partridges are called hv sonie writers KaKKafiat.

29 Apoll. .evos eXri evddSe vaieraoov. 23 n^elara yovv earL rrap' erepoLS evpelv 'A\Ktxav ( -fr. elr] 32 Apoll. 244 [a* ')o. msa 145: mss \vaav ^ Lehrs: mss -6'. 6. Kai ol dboL avroQL ixifj. . .era rov l -^ . . 10 rrarepa dvr) rov v/xerepov acperepov fh€n . Pron. tov t AajpteiS Bia . 6. 138 : 74 . TrpoKeirai rh MevxvSpeiov fxapTvpLov' aWa Koi 373e 'AKKfidv TTov [tt. . 58. .' ^ ^ dvaav B. — . a(f)ea oe irpoTl '^/ovvaTa TriTrTCO. al yap e/xo? 7rocrL<. (prjai' hvaav airpaKTa 8' mt vedvLhe<. Od.e rrorl ^ prob.veLv\ d/xcpco /xev ddere^ 'Apiarapxos' SLard^eL 5e Trepl rov Trpwrov errel Kal 'A\K/xdv avrov fxere\afie. 13 aA. lepaKo^ vTrepTrTafievco. 109. iri fj. 9.p ijxo\ roLoaBe: Trocts KeK\r)ij.8oA.^ 6pvl<. 31 Sch. 18. Od. Od. rron. LYRA GRAECA 28-35 opviOwvy on Se koI inl rcv kKt]6vvtikov Ath. 'A\Kfiav koX Kal er: kolvws' cre jap al^OfiaL. from a poem clealing with Nausicaa and Odysseus' entertainment by Alcinous. 6 and 7 with 28 cf. rrporl Bek : cf. 30 366c Ibid. .— ) .Ao Kal 'A\K/xav TTpccr^ Ma/cap? eKelvo^ (prjffi. II.^ rrapdevovs \eyov<ras eladywv I Zeu TrciTep. cre . opveis yovaLV.

but is with me 1] doubtful about the first because Alcman has adopted it.: 1 : ) ALCMAN 28-35 Athenaeus Docfnra Dinncr [on poultry] nt birds the above testimony of for upvfis opviOes in " ' phiral tlie Menander : is That they say obvious from but Alcman also says . 'yourfather' .S . a hovering 292 Apollonius The Pronouns first Book But Alcman. 158 O. Od. .) N. . cf. 6. and would be pleased to abide Aristarchus athetises both these lines. dressed supplicate? Arete (X. ^ cf. : . 244 N. 6. 146 O. on seeing O. to companions on seeing 0. for Tlie Pronoun.'' 31^ Scholiast on the 0(bisscy [Wouhl that such a man might l)e husband hcre dwelling. says in his : Blest is 30 he 3 The same The pronoun o-e. fJun is (T<p^T€pov iraTepa . thee Thc Dorians use the form in t compare Alcman (132). Od. Alcman Before yourknees — I fall. and that in t (52). ^ gf. 168 0. : mv husband ! 6 This often found among other instead of v/bLfTepov (-^m^/y/cw/ 10. « cf. For of thee stand t I in awe. and also the ordinary form in o' ' . . : too. 139 N. Od. somewhere Down sank the damsels helpless^ like birds beneath hawk. 7. to ' 7. Od. my : making some maidens say O Father Zeiis : that he were but I 32 Apollonius writers TTaTfpa . Apoll. Synt.f instance. 6.'s ^ cf.

O. rh uirox«pw e^/cco- yvva Tafiia^ acpeav . fieXLaaav. hix^^s.P. Lex. . Kal KvcoSaX' ev ^evOeai 7rop(pvp€a<. ariKws 1. for lafxias) : eei^e consonant-compounds ^ Vill. ^ (iXo'. Aeol. eaXos 76 175 7. for udfxaTa. A.^ (f)v\d 6^ epTreTCL Tocraa^ Tpe(f)et pLeXaiva yata. Tw he 27 4. Ilom. ^ fxapTvpet Eust.LYRA GRAECA 33 Cram. ^ B. . TroTe 8e 5ia ttjs et Si(pd6yyov. . . ws 'AXKfxdw eeu^e ')(copav. TTOTe /xev 5ia toO e TTOTe 5e /fOTa 'Hpui5iavou Ka\ /xeTaTedeiaris avTrjS els rj. koI vTroKopi- 'A\KiJ. re T opeaKcpoi Kal yevo<. . x<^P°-^ ^ TTXeovd(ei) rrXriKTpov . <x<peds cf. KVwSaXa 5e to QaXdacria /ct^ttj. II Ka\ TrXrirpov to tttjSoAio»'. (Jirei' 343. U. {t<2 e TrXrJTpov prob. 'AKKixav iv t^- eV* apiaTspa XV P^'^ ^X^^ 36 evioi 5e dTjpas fxev Ka\ Kvu>Ba\ov Apoll. : mss to {(r<peds E: mss 5e yvvai Tafxias from rrXridptov: simplification of * mss XeyovTes ^ E: mss Apoll.^ U Id. epTreTa 5e TrdXiv Koivws Ta yevrj twv u<pecor. (pr}a\v . (paXaivas Ka\ 'AXKfxdv 5ia<TTeXXeL Xeycov ovtol^s' evSoiaiv S' opecov Kopv(f)ai /co: oo^o TomvTO. 110. el^e OJ. Kaddirep re Kal (fxipayye^.-Baunack : cf. 25 .av TrXrjTpiov ^ 35 ixovvpes Se eV dri\vKo7s tj X^^Pj ^ KXiverai . Brjpia Keyovai^ Xeovras Ka\ Trapbd\eis Ka\ \vkovs Ka\ Trdvra id napaTrXr)(Jia tovtols. 181. Kal p^a/3a3/3at. TrpcoFove^.' Or)pe<i evSocaiv 8 oicovcov (f)vXa TavvTTTepvycov.. mss . A.

5. both with e aud with et. . shoulder also and ravine the creeping-tiiings that come from the dark earth^ the beasts whose lying is upon the hillside. 109 * or Fron. 276 perh.iXicr<Tuiv re kpir.cf. : Asleep lie mountain-top and mountain-guUy. 7. Ammon. irop^pvpris 77 . for which he quotes Alcman ' : ' : having upon his I * left hand 36 Apollonius Homeric Lexicon Some writers give the name of beast to lions. all lie asleep. O.: ' ALCMAN Cyrillus in Cramer's Inedita (Paris) as : ef/cto ' to withdraw ' . Apoll. is telling A. and all similar animals. that of creeping-thing genericall}' to the various kinds of snakes. 6' oaaa • and Schoemann : mss <p. . tlie generation of the bees. Od. the monsters in the depths of the purple brine.' and in the 3 ' 35 Eustathius on Homer hand is peculiar among x^'P feminines in being declined in two ways. how he came to Scheria keeping the Bear upon his left hand ' ' : ' : fvSovaiv and p-ixayyes irpuToveare ' mss p. according to Herodian. 112. leopards. that of monster to cetaceans such as whales which is the distinction made by Alcman in the lines : . » cf. . with the change to 1). Od. 2 my cf. Inedita {Oxford) And irATjrpov dinunutive-form Alcman said irX-qT/iov Cramer : ' tiller ' rudder. ^ cf. wolves. and. 175 Alcinous entertains 0. Alcman And the housewife gave up herplace to him.^ 34 . . and with them the tribes of the winging birds.

OepdirovTa ovTu Bifxis 6e/xiTos.^ sugg. ysviK7)v Pron. B (bis) \i/i\e7s' ol : mss 'ApT-. AcopteTs XciSos (pacriv ws 'AKKudv Xa8o9 elfieva KaXov eaTiv XtjSlov ivSeSvfxevr] eveiSss.ttj jxivroi diaipccrei rj 'Jo. 1147. 41 Suid. 5e rrjv rrapa 'RpwSiavcxj ^AkK/xavLKi^v Kod 'ApTe/. a aToix^^oL KaXov(TLV ol TraXaioX Sta to rrov Kal A\Kixav (rToix<fi eKaaTov avToJv vrroKe^adaL.VL ^ tnss TroiSey — rrTL\ov ifiAov 78 7) <pi\ovaa ' iXoxjnXo^.. AtjSos 1 . Od. . and Hesych.\Kixdv KiOapiarav .1 irpwTOTviros 8iaWd(T(rei ttjs KrrjTiKris . Tat. (rrjfxaivi. Tecrcrapes cr(pa7paf Kai Ta|et 166 (Petavius Uranologium) ela\v ovv 2. tov alveovTi ^A.us O/lOiTTOi^^OVi eKaXeae Tas eu Ta^ei xop^vova\LS rrapdevovs.-yu.* 38 Eust. 1618. 23 XprjO''^^ KaTo. \pL\evs' e7r' aKpov xopov laTdixevos' odev Kal (f) irap' 'A\Kjxa. 9 7/ ajxwv napa Aupi€V<Ti.. 40 Ach. ocrac Se TratSe? d/jiecov ivri. Jsag. 7/. . varaTOL x^p^vovTes ^ cf.'^ oiov WpTd/iiTO<... . 39 Eust.Lidos 'ApTd/xLTOs. e7r' aKpov x^pov 7aTaa6ai. Kal avvapQpov aKoKovQov ttj ajxos.LYRA GRAECA 37 Apoll.

wliich . Phot. as Alcman : . 40 Achilles Tatius IntroduHion to Aratus' Phaenoineiia There are four spheres. \.wv "our. clothed in a handsome 39 Eustathius on the Odyssey And also./j. according to the instance quoted by Herodian from Alcman. Alcnian aij. is distinguished froni the possessive.. ALCMAN 37 The proiiouu aij. * she ^ who loves to stand on the cdge of the choir. and these are called by the ancients o-Totxera because each of them lies in a row or ranix. 'AprdfiiTos for of Artemis. and Apollonius Pronouiis shows an aiticular genitive corresponding to a/j." Ity diaeresis : ' . But the priniitive. is clad in a fair muslin gown.iMvs 79 . diUlTOS. winger one who stands on the edge of a band of singers whence Alcman's ' : ' : .6s. summer dress. a.' the poet's choir to the poet ^ cf. . All of us that are girls do praise our lyre-player. : and she that is. just as Alcman somewhere called girls dancing in a line : maidens all a-row 41 Suidas Glossary ^iXivs.' as 'ApTefiiSos : ' : minister of Artemis «SO d^/llS. ^ s.ewv 'us. : . .^ 38 Eustathius on the Iliad AtjSoj * muslin gown' the Dorians call AaSos. lover of the wings.uv is Doric.

ws irap' 'AXKfjLavr 2. eiTl ^apUvTa IfJLepOV ^ ridei ')(opov} 44 Sch.v ov5' ovTcual KaTo.a the phrase whence came rrdp 6' Buttmann : mss ^porTjaia.\a-)(T} Se ovtw acpoSpa ivQeos yiyvfTai (6 'A\Kfiav) ojaTe (pairjs h. 171 flKoatv 'A\Kfxdv' Trcip 0' vqaiZiov ^vpir^s- /j. tov YlapatpQiyfiaTos' a. r 43 Heph. Oc?. 43 SaKTvXiKov]' [tt. KaWtoTra.av o\as koj (TTpocpas TovTCj) Tu} fieTpcf} KaTe/x€Tpriae- Mwcr' dye. . 3. 509 tt. ifKpaPTiKhv Kol K^pais ioiKos. 5e 'A\Kfj.vris \eyei- eiTTare ^ i(p' 'ifiepov vfxvcf) 8o ^ /jloc rdSe.iKphv txov \ifieva vtjwv lepov aKoireXov irapd re ^vpa ^ 45 Aristid. e/^^T^W^ ^PX Kol vfjLVov O €TT6(t)V. Ouyarep Ato?. . yap ai Afyouaai.LYRA GRAECA 42 Bek. .^a. 855 iaTi ijlikp6t7]tos vvoijlt. 2. To prjfia evdeos iaTiv. (f)v\. a\' avTO 5r] tovto uaTrep 6eos tSdv aTTO fjLrixo.\afj. An. i<pifiepo5 irapd re ^ Max.veTai 8e eVe/cef tov irpCTrovTos Kopai. 6 v-noKopKrpiOS .

540. 4. for instance. . A. otherwise general type Ars. actuul words like a God from the machine. 2. . * BOOKS III 43 Hephaestion Hawdhook of Metre [on the dactylic] has whole stanzas of this metre : Alcman : Come. 360. daughter of Zeus. 12 have placed all other fragments of choral or ' cf. Heph. Plan. begin thy lovely lines^ and make a hymn to our liking and a dance that shall please. Max. : . Muse Calliope. I. Cram. 44 and Sch. 5. ye mortal breeds.O. 273. deus ex the : machina Tell the quotation me this. It is used for this reason. hy Alcman for the speakers are trirls. 510 Walz. : : . ^ this book : I 8i voL. a little compare Alcman islet witli : to tlie sacred rock^ to Psyra 45 Aristides On Extemporised Addition In anotlier place Alcnian becomes so God-inspired that you niay say he is not onlv mly evdeos in the ordinary sense of the word but speaks the G?od's.in is lost cf.^ 44 SchoHast on the Odyssey anchorage for twent}' ships . Psyria. .: ALCMAN 42 Bekker Inedita The (liminutive or pet-name is a name expressive of sniallness and suitable to girls. . a . Faroem. .

iroXvipayiasy Ka\ 'AA. opecov.-^ (p aXX' eTi vvv y airvpo'^. . 416c 10. . cf. .f/iaf 8e 6 TroirjTrjS kavTov a.^ Ta KOivd ydp.^ 47 'AaKXrjTriddrjs Se 6 Mvp\eavhs iv Ibid. Kal TToWdKi 'A\Kuav S 5e (priar ev Kopvcf)al<. . ^'^(^oiaa fieyav aKV(f)ov old T€ 7roL/i€ve<. B inss rr^Ka mss haplogr. cf. cf. .) apyicpovTa 82 Oram. 49 mss erraXaQetaa late poet Cram. aKv<pov]Ilepl Tr)s NecTTopiSos (pT^alv uti tw (TKVcpei Kal TCfJ Kiaavfiicf) twv lj. ^ Fiorillo-Herm. 498 f [tt. [tt. Tpo7rd<. (see . e^oLaiv. 'A\Kfiav r/pdadi] yXiepov irehd ^ Td<. iws» ^ To^.^ 'Xpvaiov dyyo<. .-ca : : \)\ : : : apyv(p.) : mss apyv(pe6v Te. apyei6(peovTai. . eop^d. XA for XA below) B ayeipais perli. 4. 1. olov o 7rafi(f)dyo<.' ovTL ydp dWa Tjv T€Tvy pbevov eaOei. coaTrep o hdpLo^. -(povTai: opp. Aristid.^ ^ Selrrvov E. ^aT€V€L . dvSpe<. av&wrai Se Kal vofxels Ka\ Tw ev aypcf ol . aoXXe' Jur sugg. SiKeviXea yeipr]s (AE for AE.Zf]payov eivai Trapa^idwcriv iv t^ rpiTCf 5ia tovtuv TOKa TOi Bcoaay Tpnroho<i kvto^^ K €Vi <helirvov adWe> ay€Lprj<. 11. OKa OeolaL FdBrj iTo\v(^avo<.: LYRA GHAECA 46 Ath.350 (epithet of vwTa 0a\daar)s. ^ X^P^i' \e6vT€0v ev ydXa Oelaa Tvpov eTVpi-jaa^ fxeyav dTpv(f)0v dpyKpoevTa . Td)(^a Se TrXeo? K(xi eTveo^. mss Kaiva ® E. rightly ^ Cas mss x^^^^po^ TraTSa * mss ^ Koiva Cas ^ mss 06ors aZri also TeTV jxjj.ev ev aaTei /cat ixeTpiwv ovhe\s exPV^^o. A.P..

^ . and the cissybinm or ' niazer were never used by towndwellers and people of means. And Alcman says : Time and again 'mid tlie mountain-tops. he seeketh unto the common fare. have won the singingcontest for Alcnian. 47 The sanie [on the scyphns] Asclepiades of Myrlea. makes him say) will ^ ref. when the Gods take their pleasure in the torch-lit festival. in his treatise on theCiip of Ncstor. the judge (A. He'll none of your fine confections. not he for. e. .' ALCMAN 46 Athenaeus thus Doct-jrs at Dinncr [on voracity] : And iii his Book the poet Alcman records that he was a ghitton. a Grammarian quoted rhilologus 10. and thereof have made a great cheese^ wliole and unbroken and shining white. you have carried a great can of the sort that shepherds carry. 350 — — : 83 G 2 . says that the scyphxis or * can. I. to a Maenad at a give you and him the prize midnight festival of Dionvsus cf.2 ^ i. though soon to be fuU of that good pottage the all-devouring Alcman loves piping hot Avlien the days are past their shortest. wheu you. 15ut unfired is it yet. the chorus-leader. third : Andtheii 111 give you a fine great caldron whcrein you may gather a plentiful dinner. like the people. . . but only by swineherds and : ' sheplierds and country-folk. but all of gold and fiUed by your fair hand with the milk of a lioness.

ut ait Alcman melicus in eo carmine Nat.€vos (o 3 SpotrojSoAer yap Ta7s -KavaeX-qvoit ar]p). 8. re Ka\ depo<. Ovydriip epaa Tp6(f)eL tcal Sta? ^€\dva<. irapayooy^ 6 Tri (pL y^viKrjs. QiC. Conv. Sat.. ds 'AA/c^ar- . aae\ : Qk. 51 Sch.eXotruios alviTTOjxevos TrjV hpocrov aipos duyaTepa Kal (T€\r}vr]S' ola Aio<. hias ^ mss a{. . 22. iiri Se K\r]TLKr]S 'A\K/xav 6 /iieAoTroihs ovTcas' Mwcra Ai09 Ovyarep. "2. e quo Rorem filium conceperit et genuerit. fxev /xr)V7]S ) 1 2 cf. doTiKrjS. .^ 50 Scli. ^ 49 Com. k. Plut. Fac. av^ec fjir)va<. Nat. the bona fides of this author 84 Macr. 13.: LYRA GRAECA 48 Plut. Nat. 305 [oAAa /jLeya AeiVfi To ayaOov. fxa}\i(na 5iaTi]K6iJ.|. 10. ci)pavLa(f)L iCTTi Xt7 deiao[xai' yap ovpavia. 16 ^ cf. open to doubt Orb. vl6<. KaTo. 255 Quidam tradiderunt Lunam uxoiem Aeris. 588 : nexpT^Tai TTTcicewf. Tpiwu ttoitjttjs alTiaTLK?]S . II. II. is 2'4.Je|as tl Kal i(raofxevoi(ri iTvQeaQai\ fieya yei~ovi yeirciw. . Myth. . fuisse dypcoarLV 8poao<. .(. * Bernardakis 8p6aov mss k. ujs ttou Kal 'AA«:yuai/ 6 /. Qu. 25. '. e7r: . 8.

A. dative. is a great thing unto neighbour.«. as tlie lyric poet Alcmau iuiplies when he says tiiat the dew is daughter of the Air and the : Moon : such as are niirsed by the dew that of Zeus and the di^ ine Moon ^ is the daugliter 49 XataHs Comes Mythology ^ Some authorities have held that the Moon was the wife of the Air. Apoll. and by him the mother of the Dew compare the lyric poet Alcman in the : . 10. {ovpavia(p'i 7' iiiiaoixai}. IG. And Alcman the lyric poet uses it in the vocative. dauf^hter of Zeus. 1()5. 2:3 80U. "^ 51 Schohast on the IJiad [* but having doue some great thing that shall be known even to them that are yet to be '] there is an omission of the word 'good. 293. thus : by . well-known poem The dew : that son of is moon and makes the air deerjjrass to <jrow. : Muse. and accusative. 50 Schohast on the Iliad Tlie termination -cpi is used Homer in three cases. //. Adc. of -2. genitive.O. 1. and grammar ovpavia Ki-y afiaofiai E. i^erh. for ujpaviacpi stands for ovpavla 'heavenly. . . heavenly Muse^ sweet and clear will I sing . 2. 411. E. 7. but metre alike point to some early corrupticn. . Cram.M.' as in Alcman : : Xeighbour Sch.ALCMAN 48 For tlie meltiug air drops Plutaicli Dinner-Tahle Prohhms the niost dew at full mooii.G.

. 83. 236 [t/.aaaL d\aLV(jo msB 86 6(pd. . Tt? iTOKa pd dWco voov dvBpo<. 11 e^^is prjreov cVtI Ka\ Trep\ rov pcl' WKK/idv Tt? Ka. mss tiv fiAAw Bek mss aAAa 6\.fvoio]' rrjv kavrov evxv^ viv6p. o66.u6J/ St^ttot' i/j. kxkc (pf](Ti- Ava7TapL<. evidiroL ^ . Ka\ 'AAKfidv Avawapi.ov ^-kos e/fAues evxo/j.€ra rov Awpius i' 53 Sch. Heph. Z«es 5e Tct dLe^rdlovra rovs 6(p6a\u. . An.LKev 6 ydp rr}v Qiriv avrw aceis 'Ax'A. 39 3. . t) o/xoicas cre Trphs irdvrocv koivv. duiTeXcav iTres- . /caKOv EtWdSi /ScoTLaveipa 5-i Ibid. 16.. ij. omO' eTalpwv KipKa eTraXei^jraaa ydp 01» avTT] ijXeirpev.pL- //. 3 5ia rov r' .Aeus T/I/ koll els avrhv dyeraL <r/ evxv^' Kal cnro rrjs ixT}rphs SeriaLV A\KiJ. rwv AhKfxdv ^ Ka &aB' Schn mss &rd 6' for eVoA. Tl7.- (132) *A\kix7.inl KaKcp u)Vopiaafi^v^ Ylafi. 2. .LYRA GRAECA D'I Apoll. from above for nietre cf. t. 56 Ammon.dv ydp <p7](Ti' Kai iTOT 'OSfcrcr?)©? Ta\aai(f)povo<. 00 Bek. alvoirapi'^.. cf.v koI eri .ovs Kal TTOLKiXov LKa Tov 6(^6d\fx6)v oXeTrjpa ^ niSS hdiJ.Schn.^ dAA' inreOero 'Odv(Tae7. Pruii. .4 ^ : d/xne\(tiv * : : : : : . ^AaiVw * .

cvil Paris compare : ' . though she did not anoint Odysscus to anoint them. . 38 13o?a. pare Alcman : and the wily worm that destroyetli the buds ^ 2 cf. Theocr. 3 87 . theni . 379.^ 53 Scholiast on the Iliad ill. prob. addressed to Achilles. 67 Kust. . : Thy overcoming shall fall to the lot of Paris.: ALCMAN 52 Pronouns The pronoun o-e. and in the form rel Apollonius ' : — . .- 54 as once thou heardst my voice in prayer] reckons his mother's prayer (//. having anointed the ears of the comrades of strong-heart Odysseus . 3 ^. 503) as his own. but herself charged 55 Apollonius Advcrbs pd . . thee. Arist. For it was Achilles who sent Thetis iip to Zeus and the prayer is transferred to him.. 1. Aixnrapi : that is. ef. ' called Paris for Alcman Paris-of-dread. //.' occurs in all dialects in the Dorian in the forin re (132). Paris-of-ill. . I^Ii. Similarly Alcman says The Same [even : He : And Circe once. as Alcman says. the nurse of lieroes.f. compare Alcman And prithee another : Next we must the adverh treat of : who may read with ease the mind of '' f 56 Ammonius irords Jlike but Different Jnes But 1k€s comare the creature? that eat through tlie buds of vines : . . an evil unto Greecc. 25.

a^eX^iSeot? Kapa Kal ^ (f)6vov 60 JE. tt) yfi /xeyas irapa ro jxr^yas. Mxts. ctk. lih. o ' : : mss ^ -Z' mss : mss Soficf! y' ava^ sugg.' cf. 35.^ 59 Ibid. Proa. opdorovelrai oe (JOl\- Trop' /coi Awpievffiv' 'AXKfJLavi (TvvqOais aBoL Af09 VoFw %0/309 «//0? /cal Tot.M. aW' ro 5e U7repe'xwi' avrris' elrre [le havTe /jLe^ ' tov fXTj iv AXKfJLav (^aihLpLO<^ Ata'^. \ci. ru>v 5e avOovs]' KaXx^^ iu. /xe quotation /xe'7 fir) mss Kir av Kappav (through v6rci}) mss * £ ^ Kapa Bek ' : . 1838. 10 Trapa oe "KKKjxava 5ia rov o- [TTie^o)]- TW 06 aKoWvv 6ea ^ KaTTav Kapav Xa^coa^ eVta^e. 365 A rr]S [tt. 20 naAiv 'AAKuav rh 6 dr) (T(p4as avrX kviKov era^e «Ccr^oTs^* Ka\ ro a<f)OL<. 112. originally virohpa for vir^BpaK {eSpaKov) : (TKOfivvOea {L'). 682 a KaXxV^ [tt. \e|. Fdva^. 15.LYRA GRAECA 57 Hdn. E." 58 Apoll.s Tiii : ^ 105 j/oF^' Sitz. arjofivvdia Xauck niss : : : greath'. Zoii. ^ov. context.ffjLV7}rai Kal 'AKKfiav iv rovrois' paSivav TrerdXoLai ^(^pvaLov opfjiov e^cov KoXx^v ^ Tw £J: Egenolff xop^s mss : nis. Fava| Maiitaire K<ipav ^ B 6ea. 61 Ath. loudlj-. fia^oos eV. 6 Vet. 44.

Alcman has used a(p4as them in pUice of the singular (possessive). 59 Again.M. 574. 10 i»"s ' /^. 2:6. suggestions leave no point in the illustration Dalecamp : mss padivap ir. cf. 8.S 'iUustrious' Od. 779) Od.61 Doctors at Dinner [on the flower calcha] Athenaeus is mentioned by Alcman. : mss 5' avre Ka\x°'' 89 . {fxr] yfj) 'great. E. 58 ApoUonius Prononns [on the pronoun aoi\ roi to thee accented by Aleman. the death of Ajax son of Oileus (called 4. Eust..' takes the form iTid^w : : In Alcman compare tlie word trif^Qi. in accordance with Doric idiom ' : is : pray my dance and be acceptable^ may both I O please the heart of Zeus Lord^ to thee.' for ' his ' : the death and death-spirit of his brothers children 60 Magnnm: Old Ehjmolocjicxim that which is not in the earth Alcman uses the form /ie • /neyas. 499 tf. thus flower Tliis : : wearing a golden chain of dainty-petalled calchaflowers ^ - cf.' ALCMAN 57 Herodian Oii PecuUarities press. 38.' is ^ for fM-nyas. 1447. but extends above it ' . to ' : And the Goddess took aiid pressed in her hand the crown-lock of his head. : Lo ! the illustrious Ajax bragged (talked great). and also the adjectivc The iSame (Ttpots ' ' : " their.

Soph.fiejxvqTai 5e «at . . 66 Bom. oeiSTjv^ Va. .'^ ws yev(a\oye7 'AXKfxav. . 64 Af^ei 5e Sch.C. . . : mss mss ' epireL tvdecv v\ai and (TTe^vwv U (his) * : mss tc i? detSeij' . ^ ' peirei Lobeck 90 Scal . d8e\(f)d Kal YlpopiaOeia^ dvydTrjp. ovtw 'A\K/xa.5ia t^ Trpos tt} 5i. 4 /xaWov Plut.ua Tovs airo(paivov(Tiv avTovs' koX -ToXe/xtKWTa- yap dvra rw aiSdpo) To Ka\oj<^ KiOapiahi^v^ peirei WS AaKWVIKhs 6 TTOiTJTTJS etpTjKe. 1248 [eVfux'«'' «''rb '?nTav\ auTo ivvvx'-^.o"ei KelaBai. ap. 2. IMyjhe p! deiSijv t6 yap AaKwviKOv taTiy direpvKe. (lais. Fort. 49U irap' 'AXKfxavi- Tjpa Tov ^ol/3ov oveipov elSov .v \eyocv diOeov vXa vvKTOf.]\[. An. 327 p. fj aelSev E. Lycurg. 21 jJLQv(TiKiCTa. ixe\aiva<i aTepvov 'PtVa? 0/309 ^ 65 Bek. 63 L'(. O.rovs yh. aWa ov jxlv yap aireiOrjs Kara T^bv UivSapov YiVvofxia'^ <Te> Ka\ TleiOov<=.LYRA GRAECA 62 Plut.p a.

Phu. not iutractal^le . of Foresight. is Sister of Orderliness and Persuasion.. . Terp. which 1 is cf. AIcx. inGaisforcVs Eiyiuologicum Mo. upon tlie lyre weigheth eveii- as the Spartiiu poet has saicl. 2. to sing' : For the Luconiau ' : Xor vet stav me from siiiijinsr.an Then have I : dreamt of Phoebus ? 66 Phitarch Fortune of Rome For Fortune as Pindar says . 11.3 91 . towards the : of Rliipe that is tlie breast of 65 Bekker Incdita : In Alcni. Fav. '1. G = cf.gnuni forni is ociStj*' or aeiSei/. but rather : . . Furt. them night-wrapt because the}' and Alcman also mentions theiii thus calls The wood-beHowered moiint murky night lie : .^ 63 MS.- 64 Scholiast onSophocles [froni the night-wrajjt Rhipae] and he wcst . and daugliter her peihgree in Alcman.ALCMAN 62 Plutarcli Life of Lycurgus These quotations show that tlie Spartans were at once niost niusical and very warlike : : For to i)lay well poise with the steel.

tjs H {'UpaK\ei57]s) TTapdyei XPV^^^ 'A\K/j. 6 wadoiv Kal /. OL . Ha-m : iiiss z: .v yevLKTjv <5m tov X^-^ 5e A-jjpL^ls Xeyovaiv upvLXos- 'A\Kjj.dv Trelpd TOL fxa6i]GLo^ dp^d. 9. Pron.^ ^ 92 E 25. 69 Apoll. 68 Eust. Xeyovaiv oi Alo\€7s e/c toG (f>i\ui /j. yeviKrjv 5ta toG x . 5 ft)9 d/jLe<i ovK iiri\r)irTOS 5e ayues Aupiov 'A\Kfxdv To KaXov /jLeXiaKov . tj 70 Ath. 43 (pi\€is .v 3' opvi^^cov z/oyLtct)? TrdvTcov. [o Troyrjaais vui TTpojxaBT]S 5e p6cf> Koi TrpofxaOeiav (pep^i]- yiveTai. Tw 56 1. 374(1 fvdelav eK(pep€L opvidu:v\ [tt. . Taa ls. (26.avos t6- earc irapevTwv fivdariv einBeaOai. eis yueTOxfjs. Pind.tTOxv'' ovv Kal Th eiTj prjfxa AIoXikov iaTiv airh ttjs KXiaiv irapa toIs iroL-QTals elirwv (pvXaTT^crOaL yUTjTTOTe . 4). .a. 93. Ka\ ttjv olSa \eyovT6S upvL^ ttjj' 5e Sta tou a Tr. 1787. Od..'A\K/j.LYRA GRAECA 67 Sch.

70 Athenaeus Doctors who at Dinner [on poultry] : The Dorians. . I know the tunes of all . . and he gives the following instance of it from Alcman of (pi\w. 69 Apollonius Alcman Pronouiis : ayues ' we ' is Doric . being. . . 93 . It ' ' : Remembrance belongs to them that were there. 'I love. : the birds. . is observed by the poets.ALCMAN 67 who lias suftered. the declension of which.' is an Aeolic word derived from the participle eh. 4) and the x-form in the genitive say upyi^ for opvis. compare : as we the and the accentuation pretty roundelay aij. compare Alcnian the beginning of is \ : isdoni. with a though Alcman uses the (r-form in the nominative compare ("26. not to be censured. Heracleides says. ' bird. . 68 Eustathius on the Odysscy : The Aeolians use as participle may be therefore that the optutive etr}.' use the genitive upvLXos . woukl be. bearetli for nian's niind wins forethought Scholiast on Pindar [For he it forethought in inind] liis : A or prucienoe by his experience Trial surely .' (pl\eis .es is . X.

(re(Tr}fxei(i>/x4vov . 72 Sch. Aesch. 1. Kttl . hpvTTTU) 94 B : : : : : apparently * mss also Bpv^pda) apfx. AvpiKSs (pri(nv 09 FeOev ttoXol^ Tovs [xfpiajjLOvs. Sovpl Se ^vcTTcp . Aitt? al/jLard^ re "Me/Jivcov.^ 75 Ka\ 6 fxev TroirjrTjs Cram.O. 1182 aWa wal ro Atas ro us (TvariWov to a 3. -nap 'AXKfjLavi fX^F^^ . A. Alc. Atb. 12: Naiick SaLfxovds ^ Siavofxds Spvcprirai.' To avvSeiTrvia KaXuv Kal TraXiv diKXov WkK/Jidcov dp/io^aTO. Sch. lament. 30 taK^&pXovaav avareWeL iv r(f eaKev. . 727. eV . oTi SiotTTjTai ovr(t>s Ka\ elai /caAel Beohs ^roi ori Baifjiovas ruv 5ioiK7]ral cLs avdpdi^Tronv. TTJ TrejUTTT?? /jL€/j. 11. .7]P6v yap X'*-'P? . KavdOpcc) pfvfadai Kr/TTi oi/TO) 140 c 4. ^ mss £(im. An. 74 (iv IIokc/x(i>v Toi Trapa "Eevocpwvri ro 5e7iTvov virh tcov AaKedaLfxovicov &iK\ov Trpo^rayo'AXKfxav fikv yap ourco (prjai- ra /iv\a SpvcpdraL " Kr/irl ral^i avvacKXiai'. . ?) 'AXKfxav o . rrjv dvdaawv. ' cf. Eur. K^lTai. 6 8e 'AhKfxav (pvXdrrei. r i^daaaro'^ avruv. Herm . 222 1. . iv i ov TidfTai. . 159. T/aKe Ti? aKa(f)6v<. cf. CTrovSe^os iv TpOXO-iKCfi jX^Tpcf.LYRA GRAECA 71 Bek. eTi <pr]a\v 6 Btavo/id<. . . ^ hs mss also o? mss iiraXXei mss oTyua to mss Saifxovds an ancient corruption. Tas eVaXe Siaipecreis 73. ' tear the flesh.

a/i ]>Mlii }>i-e])ai-ed hirnseif a siip|)er.-i. c h\ slave ^/^. cf. aiid o. is aliiiril fiM' IjluO'.^ Jid Hnrner in tlie worcl tcn^v . Gl and frctrinctrj. Co(i. /0 Cramer of ['i'.7.:'.'. 49.\OJ.. i^. liatlt iiiviJed ihat or .io : tlien) \-\\ unto ^heni his u" n his ouyi j«j.s a king. iu sj>o!i'lee.niiii laves S{>e.0. as once a ditcher Ava.vel Alcmao : 'Iherv.-^e \

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w.- i.i thr 11'oii. : ll^ is rfiuiirried a': llie r. 3. : le.ovei.e in Itth tlio pliu-o.^ 72 Scholia-it !iec:^u>r> . Draco = cr'. 'JSJ.au.3i.'. Iie muuiiied at the is pnhiic . trochai'' inetrt-. .y <j:jv<t:i(?.•^horteiis ' the >h3.d ViTid.aio (in his ti lot o. .'.t tl-. A . U.0. MriiiMon .i&vfs eitlier tho aj oicrLitovo or \yjvX Alcniau say ? tl-'ey liec.s :( /ui:M'l in iLi.di:-7.m. Strat. 16.c: Ci ' i.[Orfor<l): tlie first . 5(U.iX.-5 o'" Avho eljie n^en. J r Athijnaeiis Dodors at Diuvtiy : Moie^jver Polt. uil'K.iKXoi^ .dltn iii ihe polisiiccl Mf^re.\n Clioeiubo5?'jvis Mr KKuke'! tin-l WiHi iii T)r!kkcr"s lo-. 95 . . ]Mdcr.-tioT}s loti: aTirl . on the lllad (lisj»t. ' Ajax si-.ig l. (. 4.'. F-j^ 92. .xta of Ali'.i : AlciV. Sch.ir a illi the Aj.?er. . 12 ai.ji. 43 Bergk '* ci.Afav. 400. Vind. Zon. Fop. 40'.ni.cli ci-^i i-iiM.sa\ s . i.' but vo^.\eani.i iidi^aapjp..in Xcvriphoyi) f^aya ihut for o^^iTvyui/ . . C.iu.].'jyllahle keeps It loiig . i O. Aloiaaii at a^y T"ate 'sipper' tiij 'ipairans usc ^.s -v]:iel'.suppcrs aod : agai. Crani. a. diWsions.rc . .s Ile calls ihe gods : the aliotte'.' V. uie For ojcii'.! 5c.<:. C:vr-:n.

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71 Kal u. .c. 79 Apoll. . o^vyoy. oe ri>a (/. Kip^. OtOJ' ainiat kclvO pcoTroLcnii aiOOiecjTciTOv 78.sych. Tv t tJ' Pro-.8. .i. TrpoirBe. .Oa : «^/^/'-/ia B^^rKKVrey h-al 'AAkuuv Aeyf:* oi'5«. An.uor' ne-. (Ke-.o80 Xt-/?Ta.Ka ixfy oin> airj. .<T€ : Kepfi.ss T>t ^'. . Api)ll. .iara yeypa-nriai iwuiKa. 12. a'«- -.KvC- fifvu [iffTTfp ol ^ypvytov avXrjfjev /xeXo? Kfcyv3-7r//c>^'. Ka\ trpuirOa.(uv AxpiKh e'^K\ivoj.f' 'A\/iUii/i oyrct) Z-K^riov Trjv (Tvva\(ni###BOT_TEXT###gt;T]v 77 a^pBopeu^rcLTov Vct.Ut^l.J/. inss j]f\r. f?o 7/ a.rac* 'AA/iuavf cKaTov ^ Tt^oob^ f./ T6- 80 StraL. P.^B.'' 81 llc|. jP. obo '2.h.ra.i^vv. r>L'k. He. (ricrr^Wsi oij 7i"no7rf^i(r7ra7ca- al yap a^irj TzvTcov peXoi.): ^lein.LYIiA (iKAKCA 76 Adv.faToi/ . us trup' *A\KU. 90. Hal ro alZoiicrraJ ou. KipjSmTov : ^ itx.Lev Bast ^to-i vlbv Tcide rvlwo^at KpoKoTreTr\oi : mssi "i^hi ' Kfp. cf.

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Doctr.' appears as iru^aea and the elision is to be so taken in Alcnian . as : m Alcman ' : Tlie saffron-robed ^ 5on of Zeus Muses this to the far-flincrincr * ^ see Lewis and Short Berecyntus ^ cf. ' Elem 97 VOL. 80 Strabo Geography There is mention of some Phrvffian tribes which cannot be traced. .. before Lycean Apollo 77 Ohl Etymologicum Magnum a(peov4ararov niost plentiful and the superlative alhoUararov most reverend as in" ' : ' . Gram.79 Apollonius Pronouns '". ^' Lricha 8 hn. ' : piped a Phrygian tune Cerbesian. Mctr. 'before.i 812 Hephaestion ^ancZJoo^. Herm. Harl.' as declined circumflexed upon the last ' : Would this and an acute accent also were business of ours is put upon the last He vvill accompany our song with as Alcman ! : music of the flute.^^'°'"^^"^ ^^^ syllable but one : ' The pronoun '^^^" it i« afiiv to us. „ . ' Alcnian. Gram. ^V'''. 332 (as a tetrameter). 472.. as the Berecyntians and : Alcman says He . for instance most reverend unto Gods and men 78.o/ Metre [on the lonicum And indeed whole poems have been written in thisa minorel metre. I. says.: : ALCMANf 76 Apollonius Advcrhs: Trp6<Td. ap. ' .

. as Theocr. 36 mss aa\aaaofxeZoLadv. 84 Seh. Vet. XiyvKoprov ttoKlv 7ra/>' KXKfJiuvi avT\ tov XiyvKpoTov ci^^^^eL ^ tov fjLeTadecrd p.LYRA GRAECA 82 E. yap WttoXXwv aaXaaaofiiSoia^ av . TCLS 6e e^rjs Svo e^aaTj/xovs IwvLKas Kadapds. \iyvKvpT0V k. Kdpvou 'A\Kfxdv . 83 [Kipvea]' tov Aihs Kal Upd^iWa Evpuirrjs vlov aTrh ibLev . ad\as 6/xedoLaav Trd\iv irap' 'A. 5e evpeTris Oeos 6 avThv Tov Oeov (paaiv avXrjaoA. : q3 exct dvT\ tov : : . aTrh Theocr. 86 Heph. uovo/j. Mus.da6ai (prialv 5.M. dpKTTos fxeXwv IffTope? 6 iroiTjTTjs 'A\Kjj.' cltto fidaocdv mss XiyvKpvTov (marg.t. \iyvpu)TaTov \iyvKpoTov. 5e Kapveov Tivhs TpcciKOv. KaddTrep .\. 83 Plut. 85. . Suid. oiov Trepiaaov' al Ivco ^ B. cf. 14 Kal av]TiKris ov jxovTf] KidapiaTiKrjs aWa Ka\ 6. . 2. 86 aTr* i\daaov6s re emuiviKhv TplixeTpov eVrt nap' 'A\Kixdvf % Tr)v fxev 7rpaiTr]v ex^i la/x^LKriv e^darj/xov v) eirTdarjuov. ^ \iyvKvpTov)- cf. He8j'ch.dv. KopTelv : o Avktjo^.\oi 5e koi KiOdpa 'AiroWavos. where there has been omission and ^ &v Pors displacement dx^i intrans.

XiyvKoprov by metathesis of ' [lyre]. I 85. 84 Praxilla Scholiast on Theocritus [the Carneian Festival] says that this festival is so called from Carnus son of Zeus but Alcnian from a Trojan named Carneiis. 8G Hephaestion Haiulbook of Metre The : epionic trimeter a its first part comprises rninore acatalectic occurs in Alcman an iambic of six or seven beats. . 'tis said. sugg. for if Apollo Lycean and The sea-queen * Pors. for instance the great lyric poet Alcman. ' for Ino.sic Xot only the lyre belongs to Apollo. . next who from her line ^iirTef cast. as . : .ALCMAN 82 Old Etymologicum Magnum : Sound anew the clear-twanging in Alciiian . . yif\tKepTav. . 83 Plutarch On Mv.' instead of XiyvKporov p. and Europa : . the suckling breast (pans Mehcertes ^ yaXaar^vlv • 99 . : too much . and the rest two six-beat ionics pure. clear-twanging. but he is the inventor of flute-playing as well as lyreplaj-jng Others say that he played the flute himself.

39 a veKTap ov ttotov Se [x. cf.o?.avi yovv ovTw Kcladaf (j)OLpai<. KXeo<. XiOov (paa\v e-KaLapeladai Se^AXKuav ovtwS'^ dvT)p TCf .O.^ 88 Ath.irph tov o. . Hesych. 91 [aTav Kdprepov ainu {TavTdK(c) X'iQov\ .LYRA GRAECA 87 ra Se CTucraiTia avSpeia irapa /xej/ Strab.. ^ 6dKa<. daKas = QaKov. cf. 8 [viraida]irapa 'AXK/xavi Ka\ arjfiaivei to Trporepov 1.^ opecov fiev ovhev BoKecov Se. 2. rightly * B mss oirws or Sittj part of quotation E: mss ainovs * E. 482 [ir. ^ 8e Kal iv OidaoiaLV dvSpeLcov Trapd SaLTV/ioveo-aiv TrpeTrei iraLava Kajdp^^^eLv. rjaT iirl \ . S' effaXXov 0.. aWa v€KTapos\ oiSa Tpo<f)T]v tivai 5' oti \eyei deiav 'AXelavSpiSrjs . d\LTT]po<. KaraTrerpa'. virai. KaTdyeios = Heck mss mss dtr^. irapa 5e to7s ^irapTidTais /xtj diajxuvai KaXovfieva ofiolxs <Cu'S> TTpoTspov irap' W\Kfj. V. iv dpfievoLaLV S' . /coi avev ttjs 6a eireTev virai 'l7r7ro\o. 8' ov vvv dTToaTav eXa^ev ' avTL Tov "KpoTepov ^apvveTai. . Sch. . KaTa ir. 1. tJ» 'A\Kuav Ka\ <f>T]ar To veKTap eSfievaL avTcof. 10.. A. . ' ^ mss otot6 virh tov ^lTriroXoxov k. inreffTdvTccv ^ : 2 : : : : : TOO . 0.\.^ 89 av ol iraTTjp virep Kpefiaae ^AXKalos 5e KOi 'hXKfxav 6 TavTaXcf 6 uev 'AXKa7os . Pind. . Kp^^rr/s]TO?s Kp7]a\v Ka\ vvv eri KaXeladaL.. 90 Cram. XeyeTai 5e 418.irpevei Urs mss -Kpe-ire mss also Qoivais perh.

upon a seeing not. . 1633. and Alcman thus . the feast was a : = pf. Eust. Eust. Od. instead of irporepov 1 cf. but lie hath received a fame that even now hatli not deserted him . .^ 'tis meat up to strike 88 Athenaeus Doctors at Alexandrides says that nectar their food . that mighty stone] Alcaeus and Alcnian say that a stone hung over Tantahis Alcaeus thus (/r. 23 /. FJi.ALCMAN 87 Ephorus says that the public the nien's mess in Crete.^ 89 Schobast on Pindar [woe which his father hung over him. I know that not the (iods' drink but Dinner [on nectar] is and Alcman says : : do nothing but eat of the nectar. first syllable. thinking he saw and sat. Walz 9. 34.. ^ accented on the Men. to . 1 1701. . but obsolete. 57). 305. among pleasant things.mer Inedita (Oxford) [on without the syllable 6a formerly ' in viraida] : This word isalso used Alcman. . seat rock-o'erluing. lOI . and it nieans Trp^Tepou ' : 'Twas long ago that Hippolochus did fall.^ 90 Cra. 135 phantom cf. it is . though it occurs in Strabo Geogra-phy [on Crete] iness called avhp^la or is still that at Sparta that nanie Alcman as follows : ' ' is : At and feasts in the companies of tbe men's mess well beside them that sit at and sing the Paean. Gr. Eust. : . : He a wicked man.

/coTaycrei Hesycl' .ovtoos yevo/xcvov fiapvveTai irap' 'A\K/J. Apoll. ws txei to euKTiKr}. Synt.5o'|a. .il/. VLfCO) S' 92 -E^. 35 OKKa Srj yvva irapa 'AA/c/aojt t^ otc o/co \ey€i oKKa- irepl etrjv ^ 5taAe/fTos. Suid. aXX' ovk etprjrai. Trap' 'AA/cfiavr Kappcov. ^ B : mss /cAtjtos. 7Z. ^kXKjxav (pT^ar . 212 r. ayeiraL airh (vdeias ttjs KepKvp. mss T(f iv Qeaa-aXi^ '.LYRA GRAECA 91 Apoll. 506. €/to 5t7rAa(r£a(JOcro t} HaOciv. 1547. 20 KepKvp- . : ywn cf. 12.avi- TMV ^ ' B /cActr^ 102 to /cAeiT()s. 60 Aeyei 5e rav ^lojaav /coi 'AXKjxdv Karaiicreis'^ avTl Tov acpavicTfis. k. 66 (rTeiJ/os. Od. 95 Sch. Bek. 620. ovhiT^pov yhp iv SecTcraXia KXeirei ^ mss Tvvr). KoX ILepKvpo^. /cal A71. 94 Eust. 93 Ibid.

^ ' a woman grown when. as in Alcman : : ' : by whose fame ] ^ aiju). to . . is accented on the firstsyllable. which however does not occiir.] \vhen : am I The dialect uses o«o for or^ the K {On Jnflcxions). : down the Muse ^ ' 95 Scholiast on the IliaJ (xre^vos. ' Bek. ' ALCMAN 91 ApoUonius Syntax The : And optative. 31 ^ in Thessaly he wrougly connccts il with burn 103 ../71. famous.' and then doubles 94 Eustathius on the Iliad : And Alcman says Thou'lt shout instead of ' consume.' when it becomes a neuter noun. cf. coni- : And leads a Corcyraean . 'a narrow place' so too the adjective K\€ir6s. . ' CorcAraean ' : . from the nominative KepKvp. 606. 93 Tlie Same : Conipare Alcman [Would that. as it is niay the better win in Alcnum : ! 92 Magnum: Etymologicum pare Alcman KepKvp.

. 8r] e's 'A/xvKXas Se KaTiovaiv 4k Kal Trphs avTp 'K. . . 14 'AA/c^oj/ kuI 'HaioSos yirjSeiav {dehv <p4pov<ri). iwpovvTes /leKiaK^va Thv or d/xoprj aiwpovvTes : mss ttj uAa/cTj oup.dv /JLeVOl. ol Trepl rt» vXaKTelv irovuvTIV€S Se TOVS o^vcpwvovs ws Kol 67%^ CiyUWpOUS 5ia Trjv o|uT7jTa Ta>v hopdTwv /xopov yap Xeyovai KvTrpcoi Th o^v ^^Ktiov Se Trept ttjv vXaKTjv /j. e. T7JS 12. OTe Se Siaipe^v. 98 Paus. Ka9a 27rapT7j$ TTOTajxos iaTi .^pci. . [tt.LYRA GRAECA 96 E. Christ. twv Se'/co <^7J0'tt'. Pac. Leg. . 'AyUu/cAwi']- Tiaaa tephv ^afvvas Ka\ KXrjTas. .- irpos . Nj({)87jy 36 TratSwi' ioiKaaiv ol dpxcuoL vrrep tov dpiBjxov avvqSeiv dWrjKois 'A\K/xdv /xr] . . M77S' 'EwaXlw ye . 100 Ael.€fj.!!.^ icTTLV o|eta . 457 ["Apet 5e juti Mt). . Ar. ^ ^ E T04 E : : ms i. vXaKOfiwpor vXaKTiKoi. fieX LaKOv drov e/JL o)pr} ^ 97 Sch. l'^. Mrj]Apea Ka\ Tous olo/ifvovs tcvv veocT€pcov Thv avThv eivat ^EvvdXiov 'AXKjxciva Se Xiyovaiv oVe ^er tov avThv \eyeLV.apiTccv ^(Ttlv Kal ^AXKfLav iiroiricrev.op7JiLL€Voi Sia to iyprjyopevar r) tt]v vAaKr]V ujpovvTes.'A\Kjj.ftej/ot vXaKri. Vet. 99 Athenag. G 18v 3.M.

6pos in the Cyprian But it is better to take it as toiling dialect nieans sliarp. Nor yet to ? No] This i'efers to those of the younger generaAlcman is said tion who identitied Ares with Enyalius sometimes to identify and sometimes to distinguish them. . accordOd. Alcman perh. {fjLopfco) over their barking. as them in a poem. because of the sharpness of tlie spears {^yxv). . . compare Alcman : raises for me his insatiable little ^ tune 97 Scholiast on Aristophahes [Xot to Ares ? No. that is giving a shrill bark : . of a bird"s song. because of their keeping awake. 100 Aelian Historical Miscellanies The ancients number of Niobe's children appear to : disagrce upon the says it was ten. like iyx^o^^^f^^pos. Alcman calls 99 Athenagor<-s Mission on hehalf of the Christians and Hesiod make a Goddess of : Alcman Medea. 29) ing to another view. .ALCMAN 96 Ohl EhimologicHm Magniim: vXaKoiuLupoi (an epithet of dog given to barking busy with barking or. . sharp-voiced. ^ . Enyalius : . Or perhaps raising their bark. for /j. or of a rival poet's chorus (the God speaking) ? 105 . . On : the way nearby there . 98 Pausanias Descriptur/i of Greece [on Amyclae] thither from Sparta is theriver Tiasa and is a shrine of the Graces Phaenna and Cleta. . 14.

He. tt)s ^pvyLaT\ dp/xovias\ TavT7}v 8e tt]v 5ib Ka\ tovs apfxoviav ^pvyes ivpoiTOL evpov Ka\ fxeTex^LpicravTo. 0oA.LYRA GRAECA 101 tuu -KaXaiwv Ka\ Xoyia^u avSpwv ovk 'ApxiAoxos. 5 OL ' * Tov 5€ rioAu^i/ao-Tou Ka\ UivBapos Ka\ 'A\Kfidv Tu)V fj. ov HlvSapos. iraXaLoi. Miis. TWdTUiv re Ka\ ol 'Opcpevs 5e Biacpopav XaacTL haifxovwv re Koi TjpuxDV "OjXT^pos.€\wv n-oirjTa\ efivr]fx6v€vaav. cf. 1150. 'AhKfxdva Thv fxeXorroiov Zexi^irrrrr}. AlyvirTiov etrxoi' yov HpaKXeovs 7) ^oivLKOS. B sugg. ws Ka\ oTi 'AK/xoviSai ol Ovpavidai St)\ov(Tiv ol 1154. TavTa iKdexovTai. Hdt. 624 b 14. dWws dWy]v . 102 Herm 65. 104 Ath. 6 'AXKfxdvi ^afx^as Koi *'A5ajf /cot TrjXos. II. <baaiv. ov '2. riud. . ovk 'A\K/J. : '2.TT)aixopos. Hvdayopas.sych.TwiKo\ /col TTotTjTal . aKfxu-v : znss "AKfjovDS . II. [tt.7js. B. II. 14 KaiTOL 'Hcriodos. laTopit. irapd Tols "EWrjaLV avXrjTds ^pvyiovs Ka\ SouAoTrpeTrels ras irpoarjyopias ex^"'' oi6s iaTLV iraph. 'HcrtoSos re Ka\ 'A\K/xdv 6 XvpoTroLos Ka\ ol \onro\ Tz. /caTo 5e 'EWdvLKov ^TpVfXU). 103 Eust. BoiojTov bixov Koi 'Apyelov. lOG Plut. aW' eVa tovtov taacrL irdvTes 'Hpo/cAea tov Plut. oux ovx "O/j.dv. 3.^ 105 Sch. 25 5e ''Akuwv ^ 6 ovpavhs 6 ^AKKfxdv. ws (prjai YlapaXeXeLfifievaivTCf noLr]Tfi 'OvofidTwv. 59. Tlop(pvpLos eV KOTO fiiv 250 TOtJ riepi [Aoo/ie^oi/Tia^rj]- twv fxrjTTjp TipLdfiov.rjpos. ov HeiaavSpos. TuAos //. lo6 Eust.

Homer. Scholiast on the Iliad [Son of Laomedon] we are told by Porphyrius in his book On the Naynrs ovvitted hy Homer. and the Stoics. : 102 Tzetzes on the lliad Thales. nor Archilochus. but all know this one Heracles mIio was both of Hoeotia and of Argos. ' This 105 Priam's mother. nor Stesichorus. nor Peisander. ^ Some make Acmon father of Heaven 107 . but according to Hellanicus Strymo. 103 sons of The ancients explain that the Heaven were Acmonidae or sons of Acmon. Plato. Hesiod. : as 106 Plutarch Music : Polynmastus is mentioned bj^ the lyric poets Pindar and Alcnian. and that is why flute-players in Greece have Phr^-gian nanies like those of slaves. and /j£?/-o<?5 or demigods Alcman the lyrist. know of a distinction between daemones or spirits but Orpheus. not. and Adon.' : ALCMAN 101 Plutarch Malignity of Herodotus And yet aniong the ancient nien of letters neither Homer. nor Pindar.^ 104 Athenaeus Doctors at Dinner [on the Phrygian mode '] mode wasfirst invented and practised by the Phrygians. nor Alcman. . and the other poets sotnetimes distinguish : ' ' ' .' and Alcman is Eustathius on the Iliad : ' said to tell us that Acmon is Heaven. them and sometimes . and Tehis. was according to the h'ric poet Alcman Zeuxippe. for instance Sambas. in Alcman. Pythagoras. nor Hesiod. knew anything of an Egyptian or Phoenioian Heracles.

. . 2. Sch. rrSppca ^ mss Kol 'AKKfxdv. Arsen.vyx<^pciy-^v. TocavTa TTiQoiJLevos Trap' ocrois evZoKifiel 'AXK/JLav). \v(XiTeXe7v [xdWov rf Trepl twv '2. 110 Diod. . S' ov5' ovk dv tis aiTidcraiTo dyvoiav. ws eoiKev. aXfxvphv yeLTOvrifxa. for nietre cf.^ 108 Aristid. Ka\ fxdXKTTa Mvr]fioavv7]s. Sic. 4-3 oXfMvpov yeirovTjfM efJi^Xeire Trpoao).^ eTepuQi Toivvv.KiairoS(t}v dvqvvTa irpayfxaTev- eaQai. elvai . 7 toutoj ydp SeTioKifxacTfxevoi oXiyoi 5e tSov ol rroirjTcav. GaKaTTav TpoaoiKelv.'AXKjjLav 6 KvpiKhs tovto eiirev olvtI tov tI KaKOV ecTTiv yeiTova ex^"' "^V^ ddXacrcrav . 508 tov UapacpOeyuaTos- tt. 4. 272 inrep twu TeTTdpaiV' aW' o/xcas ew TavTU TWaTccvos %aptv ccttco rb yeiTourjfxa aKuvpov^ &S (f>T]aiv. 'HfxiKvvas 43 'Haiohov XeyovTos 1. KaWw- Ka\ ToiavTa eOvr) KaTaXeyei vvv tovs ad\lovs ypafxfxaTKJTas {TjTeTi/ ou 5' avTo7s Ka\ fxaKpdv.LYRA GRAECA 107 Aristid. Tats 'Adj^vais tt]v '2. 2. (o yr)s TavT direXQelv b^^hv eTi Si(TT ecrTi. . BvyaTepas dizocpaivovTai Ovpdvov Ka\ ^ io8 E. . 'AXKfxdvos "STeyavSnoSas 'ktto- pOVVTOS. 131 : mss Tr\e7(rToi QvyaTepas (pa(r\ iv ois twv fivOoypd^pccv eJvai ecrT\ Ka\ Aihs Trjs. 109 Strab. \eyei ovv 6 pT]Twp(prjal. ad loc.

Alcman makes so preposterous an enumeration of peoples. 370. Pericles. . A. iV^. I think. : Look thou from afar upon a brackish neighbour. '. Brackish neighbour Scholiast on the passage from Alcman the lyrist. . represent them as daughters of Heaven and Earth. 80 the orator means let us admit that Alhens was situate near the sea.' ^ 7. to retrace his steps for many miles than to spend his time over the iSciapods or Shadow-feet. : : ' . Miltiades. that the hapless scholar to this day is trjing to find out where in the workl they can be. Pind. but a few of the poets. and among these Alcman.' as he calls it {Laics 475 a). Cimon Cram. cf. meaning it is a bad thing to have the sea for a neighbour. and it would pay him better.: . 3. 8 ^ gee however 43 and 50 Sch. and these the most approved.' Arscnius Violet-Bed in Plato's . 109 . ^ ^f Strab. 108 Aristides On the Externporised Addition In another passage.ALCMAN 107 Aristides The Four Great Athenians ^ : But I will adinit this favour granted the * brackish {or bitter] neighbour. 16 -299. . ' . 3. 110 Diodorus of Sicily Historical Library : For most of the mj'thologi8ts.O. way of displaying the greatness of his own fame. say that the Muses are the daughters of Zeus and Memory. : b}' 109 Strabo Geography One can hardly charge Hesiod with ignorance for speaking of the Demi-dogs nor yet Alcman for mentioning the Steganopods or Shelter-feet. Themistocles.

Eust. //. 40 .LYRA GRAECA 111 Hesych. ayd^u 7 . eariv 5e h. 12 Ka\ ""AKKfxav rds iirepdaTovs Kopas^ airla^ Keyei. . tu idviKuv AlyiaKevs.M.avi. cf. 23. £ ' there was an ancient corrupmss ^ 'Apiaroipdvei xopSas appearing elsewhere in this Arg. (J. A. 113 StjXo? 5/ (paap oi/tw. . Theocr. . 43. E.a. 115 Arg. Ka\ Alyia\L<i ' irap' AKkiicivi. uirep na^a 'AXKiJ. aavOa' eiSos euwTiov irapa "'AXK/J. cls 'ApiaTocpdvqs. 314. AlyiaKus .yS). 1. d(^' ov Ka\ ayrjixi Ka\ ayap. ih 0r}\vKuv AlyiaKfia. • • t] 114 Steph.v ^BouAerai. us 'A\Kp. 12 1 tion I lo : .O.avi- avTov dya.^ 112 Cram. and in E. 41 \ay4poiXoi^\ Ae|is Tovs crejxvovs.ai. irap' 55. 3. Byz. Th Qavfid^w. .

ayaixai. from : .P. A.G. thus used means ' 114 Stephanus of Byzantium Aiyias the ethnic adis AlyiaXeus. . . . . accofding to Aristophanes. 3 and 12 I [ I . jeotive Alyia\is. E. 84. 25. marvels at him from this conie &yr]ui and to wonder.ALCMAN 111 Hes^-chius Ghssanj : &ay6a.* 112 Cramer Inedila {Ox/ord): d^a^w compare ayw.' ' . kind of ii earring in Alcinan. 4. woman of Aegialus 115 Argument maidens to Theocritus : And Alcman calls beloved diTioi darlings.2 1 cf. 18 (aduda) "- cf. with feminine AlyLaXeia and in Alcman : . which occurs in Alcman . Cram. 113 P^ustathius on the Iliad : They say that the vvord dye/jwxot the proud/ as Alcman intends it.

. \ dXi^a7rT0V'> ^ iropcpvpav upviv ^AKkoios Kal 'AKKfia.^ 120 Ibid.yos yiyveTai \idos.v. "Appv^a- To idvLKOv WppvPa^' ouTci) Ka\ ^A\KfjLa. 'Acrcro? KopvT]\Los iv t^ -nfpl twv Uap^ 'A\K/xa. ws 'A^av5pos Kopvrj\ios iv TcfJ irepl 'A\K/j. Byz.LYRA GRAECA 116 Hes3'ch. Wpd^ac ^ ''Apa^OL- Tuv Uap' edvos 'iWvpias.iropcpupois.avi Tottlkws Elpr]u4vwv. 118 Ibid. .<is . A^avhpos 5' ToTTLKws 'l(TTopT]/j4vu)V MvTi)vai(»v 6. ottov 6 aapKO<pa.vL .'~ 117 Steph.\L^dirTois' ^./j. a. 119 Ibid.a.v' ol olKOvvTes 'Avvix<^poL Kal 'Avvixoop^Sf nXrjffiov Tlepawv K€i/j.y.evoi. WvvL^^copov /i4jxvT]Tai 'AXKp.180" Appv^^a and 'Appv^fias : ^ 112 ^ niss 'Axaibs Ka\ a\.TroLKOv iv T^ Muo-ta (prjaiv 'Aaa6v. ' ^ two separate entries so B mss 3.

117 Stephanus of Bj^zantium Lexicon : Annichorum : the inhabitants are Annichori or by Alcnian Aimichores and are situate near Persia. in his tract 119 The Same : Arrhyba : the adjective is 'Appv$as. nientioued : 118 The Same : Araxae or Araxi : a race of Illyria. I. Arrhyban. stone. according to Alexander Cornelius on the Place-Alhisions of Alcman. for it is Alcman. 113 VOL. Allusions of Alcman says that it is a M^-tilenaean colony in Mjsia. so in 120 The Same : Assus But Alexander Cornelius in his tract on the Place. . where they find tlie sarcophagus or flesli-consuming . I . Alcaeus : and Alcman.ALCMAN 116 Hesychius Glossary : Dipt-in-the-Sea a purple bird.

kvQikou . rr. * : mss . 'AXKfidu 5e . ^EicrarjSovaf. Kapxdpeacn <p. . 'A. . 124 U. . d(^' ov "EWr^ves. ^ Q 'AyiScou (1). 395.K. . OrjKvKhu 1. cpacrl oopKcvu.eioDrai Kap)(^dpaL€n ^ ^ E: mss TpalKes (or Tpa7es) mss also 'Ao-oreS. auTOvs (prjcriu- eupiaKeraL 5e Seurepa r/ ^AXKfxau 5e jjlouos ^ rrap' dXKoLS Sid rov e. 'Ao-eS. 114 rh Kapxo-pos .LYRA GRAECA 121 Steph. TpaiKOL TpaiKos' 01 6 'EWrjU. ^AKKixau oe .G. (f)(x)vai<^ 5. 21 cear]iJ. . Headl. . 55. Kal rh TTap' 'AKKfidui- cf. : mss (pvcrd!) cpaaX S6pKou k. 52 /jLurffxr]' .^ 123 Ibid. Bj^z.- . (ppaaiSop/cov ydp avTr]u /caAei* ^KeTTOfieu tt) diauolci rd ^ dpxo-^o- 125 Cram. 77JI' Tdpyapoif (prjaiv. A. * al ru>u 'EKKr^uwv jxr^repes Miiller /ctvco. . 122 Ibid. 'Iffcrrjdoues- eduos 'S.O. TpauKa Se rrapa 'AXkjulcivi rov 'EKXrjvos r] /iir^rrjp. 6r)\vK(os ttSAis tt/s TpcpdSos rdpyapa. 6 QeacaXov vl6s.t. o^utoucos.

. . Gargarus of the feniinine gender. ALCMAN 121 Stephanus of Byzantium Lexicon Troad . 125 Cramer Inedita {Oxford): The word Kapxapos 'sharp' has been marked in our texts and it is found in the feminine in Alcinan compare . is 123 The Same : Issedones : peculiar in calling them the second syllable is a tribe of Scythia . . foundwith the e sliort in other writers. ' Memory ' : Alcman calls her she that looks with the mind for we view the past with tlie eye of the intellect. Graeca Alcman in the mother of Hellen. whence the Hellenes came to be called Greeks. . Oargara : a city of the : . with sharp voices 115 I 2 . 122 The Same — 'Graecus': Hellen aecented oxytone the son of Thessalus.. . Alcnian makes it . 124 Etymologicum Gxtdianum : ixvhfit]. And — : VpaiKos. Alcman is Essedones.

dy.ro . 127 Stepll. to 8e KepKO- ttjs Kiddpas. 128 E. 129 Suid. ^ ii6 mss Tlepir/pTjy .T77 kXlvtis' ov eav «rot yap aKoXovBel yevoLTO Hepirjpovs. TrpoTeflT. 1190 KepKoXvpa' oiircas 6 'AA/Cjuav Kvpa expTjcaro aurl rov Kp^KoXvpa . KoAe? 'AXK/J. Trpos rrjv IlepiTjps^ eu0e7aj'. iitel irphs avrrjv XeyeL. Trept naflcDi'. x^ovia . 6t tj ^t?. B3'Z. 'A\K/uaj't oTt kXIvov ovtJ. as TliTvooBet^. Ka\ Trap' ^AXKfiavL Oe'. . 54 apov rh Tl€pirip7]s. IlepiTjpy Tai.LYRA GRAECA 126 Zonar. €« ToG 663.vr\aoL Sia<popoi. Trap r/ KardXr]^is. . Tlirvovaaai. yap KpeKC KpeKe ^xos ecri T^XV^^^KV Xvpa. . Ttj^es oj^tI toG ^rTuyj^bj' iSe^avro.M. evioi Se oj/tI toC fieya. oVe c^TjCi yOoviov Tepa<i eVi TTjs ''EpiSos'.

117 ." 128 Etymologicnm. .' with loss of 77 if it is set you to decline iu this form in Alcman. when he x^""'" ' earthy. . M-as father of Tyndareiis . 506. ' grcat E.^ {On liifiexions.") 17. 355. Perieres.fr. and in of Strife sa}'? infernal monstei% some commentators take in the sense of ^ cf. if it becomes Uepi-npovs in the genitive.M. 133 P.rtco7i : Alcman. Magnuni : Uepiy]ps. KfpKoXvpa nieans : Alcnian iised this forni instead soiinding lyre^ kreJce-kreke being the soimd of the cithara. from Ylepir]pT]s. f^dKaps (29) : ' it in the sense of abhorrent. Periers. : called Pityodes by Alcman. ' " cf Eust. 2 cf. .ALCMAN 126 Zouaras Lexicon of KpeKoKvpa . 7/.^ 127 Stephanus Byzantium of : Pityussae various islands. : it . refuse to do so for the termination. K€pKo\vpa * ci.Y ' . infernal': .' others because he is addressing lier. . 4. Suid. 129 vSuidas" Ze. does not correspond to the nominative Uepir^ps.

/ ISteph mss toO Q' dhelav : : ^ mss once dvdpvaKa al. fiev ^ etr) fxovcov afKpifLdKpcvv but a child cannot walk on. context e^cxueTpov KO.> aKp ^ : ^ rb ' /Jit] fxoL Olyrjfi B * Cob : niSS 5' auTe and e/caTi ^ /xeTpioos * tw Faheuv niss aufifieTpccs ipaadels requires 'me': Mwo-a. us ^rjcl twv ipcoTiKwv ixeXSiv T/^e^oj/a Ka\ iKdovvai TrpwTov ij. Karei/Scov Kaphlav lalveL.Td\r]KTiKov TraiaSei niss uVTa Ka] Schw tiv dpOp' rjKa /Saivoyv eTT rw ovk eari. Kpr^TiKovy Kal To Ka\ovfxevov tov ^AXKfxcivos eK W(f)poBira <rral<.e\os aKoXaffTov hv ra ^ Trepl tcls yuva^Kas Ka\ T7]v TOiavTT]v fxovaav els Tas BiaTpi^ds' 5ih Kal Keyeiv ev tlvi twv Ath. ola ^ Bent fxaKaipa TrapQevcp E'. 13. 82 [tt.v6r]S Kafi^aivcov. dvQrjKa ^aivcav: Pauw dvQr] Kaffaivwv. tlie tips of flowers ii8 "Epco<.so '' E ^aivuiv. XaixaiXfCDV. ocreX/cu- irepl auTTjs* Faheav ^lwaav^ eSei^e Scopov ixcLKaipa Trapdevcov ^ d ^avda ^leyaXoaTpdra. fxovaav mss K fidpyo<=. FeKan yXvKV<. 'A. ipaadeir] E.leKciiv Savre Kv7TptSo<. fpwTos]- [ir. to.: LYRA GRAECA > A' 'EPOTIKnN 130 600 f 'Apx^To^s 5' 6 apixoviK^s. or down on . 6.XKjxava -yeyovevai /.^ iroir]Tpias fxev ov(T7]S Svvaixev7]s Se Ka\ 5ia ttjv bfxiXiav aaadai' \eyei 5e ovtccs Tfo ^ tovs ipacTTas tt/. \eyei 5e /coi us /jL€ MeyaXoaTpdTrjs ov Trjs /xeTpiocs ipaaOelr]. KVTraLpiaKfp. 131 Heph. "Ep(o<.

cleaned he nieans he is not really in love. 30. » 131 Hephaestion Uandhook of Melre [the cretic] : And it will be a catalectic hexameter namel}' that called Alcnian's — — coniposed entireh' of cretics. and other poetry of that kind. . as : not Aphrodite but wild Love. . (Jhar. 18 i^idnov iKhovvai irXvvai.c. who was both a poetess and had the power of attracting He speaks of her thus lovers b}' her conversation. sweet Love distils upoii melts my heart.^ It is plays . Theophr. and that hence he says in one of his songs : AvriLer oii luusical : Lo^ at the Cyprian's hest.' : ALCMAN BOOK IV LOVE-SONGS 130 Atlienaeus Dodors ut Z>in/ter [oii love] Arcliytus the theory uiaintains accortling to Chamaeleon that the originator of love-songs \vas Alcman. treading sofcly on tiptoe. me set choruses to learn in the song-schools : cf. ' seud his cloak to be ' ref. touch-me-not-with-your-little-reed. whom sweet Muses happv among hath been shown the gift of the the hands of one that is right maidens. to . to wit the flaxen-haired at Meiralostrata. ' ' ' 119 . me and And hesays too that he fell wildly in love with ^NIegalostrata. and that he was the tirst to give out to the schools^ song that was licentious in matters concerning wonien. Hl<e a child. it is only a flutter ^ i. to sonie game Hke our * touch or 'tig'.

622. . oTav AeyTj/irjov rj KoSvfjLaXov 'AirDXXo^wpos 5e Ka\ 2wo-i3ios t^ KvSiivJo»' yn^Aoi' ^ d> 1404. 120 *Ae mss 5 oAe here. /cAtjti/c?. 7Tpo<. 11 17. eav 5e oAos ^ 7) evde7a. mss liere. olKas. : Alcman Kal ^(elfJba irvp re hdFiov 135 Cram. elsewhere elway : " acoi'oj(rti'. yevoiT' av ri /vArjTi/crj oAe' Kal ovk eCTt (TuyKOTZT). cr^ 7. e^ei TovTo Trepi na9(ij' /JL a%09. 2. 83.O.: LYRA GRAECA 132 Apoll. 287. . Ka\ KaTo. bixoiws irpos iraVTwv KOivT]- Awpie7s . interponere F.. 3. 44 oXooiTpoxosek de tov 6\o6s yiveTai t] oAoe.\cov 'A\K/J. Se re rcov (f)i.a.oiov . . co Ae oaLfiov^ 'HpojStaros.• T 5ta Tov . 134 Prisc. 133 E. 81 f [tt.v. Keil Hiatus quoque causa solebant illi quod ostendunt et poetae Aeolide iisi. fxriKvv']- 'A\k/jltlv 5e to ffTpoueiov /xrjKov. 1. o eiKa<^ fiev cyTj/xaivei copaUo \iv(p' to ofxoioi)' ^ Traoa 'AAVyUnvt. 6Ae Hdn. avyKOTrr^v oAe. Pron. A. 3 . Eek. 136 Ath.M. elsewh. 4 koI eiKa.

ALCMAN 132 Apollonius Fronoims The pronoun ae. 121 . ^ medlar 24. Ibid. Choer. A.oe I am in pain. 32 ^'AKKixaviKov). -iGl. thou destioying spirit. 11. 131 Prisciau Princix>lcs qf Grammor inserted digamma. 21 An. 9 1 10. Gais. Alcman. 2. 587.^ This comes from Herodiau On Ivficxions. * perh. 19. 871. 2. Af'|. too. Eek. 5. 1294. 3. 184 2 cf. or if 6s be taken for the nominative then there is no syncope. 442. 3 cf. Sch.' as Thou in 'rt like to ripe fiax . 22.O. Ry oiir friends I adjure thee 133 Magnum The vocative of 6\o6s. {Oxford) : 135 And elKa. Hdn. 1. Ibid. destrucor by syncope oAe. as : Etymologicum ' : tive. Epim. 4.* ApoUodorus and Sosibius take it as a quince. 368. the^who use Aeolic show. as the poets iostancc Alcman : And Cramer To avoid liiatus. 'Ihee. Cram. /toj/. fire ^ which means ' to be hke.^ 136 Athenaeus Doctors at Dinner [on apples] the sLruthian apple when he says : Alcman means : As small tiiougli as a codymalon. cf. for : storm and destroying Inedita. 1404. 415." occurs in in the Dorian in the form re all dialects compare Alcman : — : .' is oA.

irevTeKaideKaTCf} -(pe7s aeXivc^: gen. iichw.LYRA GRAECA E' STMnOTlKnN 137 Atli. paKcoviScov dpTwv i7naT€(f)elaai Xlvco^ Te aaadpo) re. lioisacq s. avTov ro ' TToXvcpayias rfjs a. TreSeaTC '^(^pvaoKoWa'^ KXivai iCTTL ^p'XUa. 10.. Kal rerpaTov to Frjp. 3' earjKe rpel^. ^ cf. . X. 416(1 i[x<pavi^ei [tt. llUf OUTWS" 5' iJ. mss -<poL e'.THiV hlO.av ev t<^ TTifXTTTU) * /i€v eiTTa Kal Toaat TpdiTeahai. oirwpa'.-B: mss Th fikv effdci iv hd^av ^ ^ Kaib 122 : mss ripuKas. Pors : onupav inss aAA' et 7ew. Oepo^ Kal %eiyLta '^(ODTrdpav ^ rpiTav. 138 Ibid..avos']- kolv tw e' 5e ovtuis- ojpa<. 3.aKuvi5ocv ipToov /j.v.57](pDLyou Xeywv A\k /j. OKa ^ aaXXei pev eaOiev ovK eaTL . * mss x^'^l^°-X^ TrapaVy x^'A^«^ Th KpoKas Schw : iirKnecpolaaL X.vr]fjLOvevei 'AXK/j. K7]v 7reXL)(vai<. cre ^ teoj. . tJiXlTOS Ka\ XlVOV.. dhav h' ^ .

^ cakes fiavoured with tliem. cf. e. jreSecrtrt. viXlxvais'. • sc. 138 The Same Poppy-cakes are mentioned by Alcman Book thus : fifth in his : Seven couches and as many tables crowned with poppy-cakes and linseed and sesame^^ and set among the flagons cups of damaskt gold . wlien things do flourish and grow but one cannot eat his fill. treSw. and Unseed.e. it is ^ a sweetmeat i. 495 c • iteleffri iKTrvuaTa 12^ . linseed * made with mss ' : . or poppv-cakes both of of sesamc this is a drinking-bout not a feast these and poppy ' and Schn: mss dat JB: lioney i.cri : XP^^' Ath. 11. summer and winter and the third the aiitumn^ and a fourth also^ to wit tlie spring.: ALCMAN V BOOK DRINKING-SONGS 137 Athenaeus Dvdors And at Dinner [on Book he shows in his fifth tlie voracity of his gluttony thus Alcman]: Aiid seasons made he three.

TaQ^LTav arTvpov 5e elTre tov ovx tj^VP-^^ov.iTav AaKwves - cf. 51. 1633. TravaTrep/JLia Kr^pivav 5e drrdipav ^ iv jKvKe^ Keyei Th /leKL.av x^P'-^ ^^ TavTa irdvTa irXrjaiov TlLTdvrjs. x^-^P*^^ ^^ "' (prjaL e(pdol ^(Dai^Los.9- Aevdcv 7] }Lapv(JTiov OvojXtv rj ^TaO fjLiTav. os icTi tottos ^irdpTTjs aTrexoov crTadia k-KTa.LYRA GRAECA 139 Ath. Pors. aiTvpov re Folvov KavOeo^^ oaSovra. 12.4vr]. Eust. rov 8e Tov Y olvovvt Lcihav ^. tov fjuev Yievre (^(ov. //. otVoJr]'AXic/jLav 8e ttov airopov olvov kuI dvOeos uadovTa (prjai tov iic HevTS Xocpoiv.dv ovTa^S' Te XevKov Krjpivav d^ oircipav' us Th TTvdviov. Ka\ Tov e/c KapvcTTov. uVLyKiv ej5os oivov ^ cf. 1. irvpoL. Ka\ tov e/c AcvOidScov. KK^^lafJL^OL. 10.'ApiaTS^^vos' iiiKr] tlvo.^ Ka\ tov e| OIvovvtos Ka\ Tov i^ 'OvQyK(cv Ka\ '^Tadfj. irap' 'A\K/xavi. Strab. i]\pr]jj.Tad/j. 281. 1449. Hesycli. KdpvaTos 124 .(pr)(r\v ovv oivov S' OlvovvTLdSav r) Aevdiv fj KapvaTiov *] "OvoyXLv^ rj 1. iK '2. — 'ApKaSias transp.be of Steph. 648 b i]^!] TTape^ec itvclvlov t€ itoXtov ')(^ihpov Se ((TTi ttoKtov 5e jxvrjixoveveL 'A\Kfj. ^ these ianibic fragnients ma}. 10. Hyz. T) ' y) UO He!5ych. Ul Ath. ^ Ka\ Tov olvos' Kap. ipv/xaT6s tlvos. 137 : mss from after and AcvOls- t' oircipav 1 cf. os i<TTi TrXT^aiov 'ApKadias. 446. 14. 31 C [tt.

636 b. which is about a niile froni Sparta. 1503. Onogli. 14. white frumenty. Eust. frumenty is boiled whcatcorns. a frontier-post.0ovs we shoukl read' K\e\Pia/j. . Ath. or the wine of Onogli or of Stathmi . where by ' unfired ' he means ' not boiled. Od. 1. the instrument used ^ cf. is allseeds boiled in wine of raisins. 1735. or that which is the wine of Oenus. and the waxen fruits of the bee aud this kind of porridge. cf. and Stathmus. aud that of Denthiades. and that of Carystus.^ they were recited to music.. and that of Oenus. where for 125 . which is nearly in Ai-cadia. according to Sosibius.' .0vKas. 50 this sort. or else the Denthian or the Carystian. ALCMAN 139 Athenaens Dodors at Dinnrr [on wines] Alcnian says. which are all in the neighbourhood of Pitane in his own words : think ' : ' — : That wine uiifired and of the finest scent. I That wine unfired and of finest scent whieh comes froni the Five Hills. ^ uo Hesychius Glossary KXerpiafifiot.2 : ' : 141 Athenaeus Dodors Alcman. ' hidden iamljics according to Aristoxenus these are certain lyric poems in theworks of Alcnian. K\e\/idiJ. either that which comes from the Five Hills. and the waxen fruits are honey. thus at Dinner : Porridge is mentioned by : Forthwith shall you have raisin-wine porridge.

^ i\e€Lvr). 24 o jxaKpov). 171.O. Tavaia): eo mss mss .eKaTos linrrjXaTos' 'AXKy. rd Fd xdSea 1 VTjXe^jj j5: mss ovtjAV TraWaKiu).»' (^Tjo-r yfvos Kttl . TroWaKiw 126 ' ^ Fd B : ^ ^ (perh.dv K XeiTTCi yap Tov CK cirapTro^ dvdyfca' 8 v}]\€r)<. . uaydSiSos]. 60. Tponr] Tov rj els eau S' S)criu e/c tov e ovKeri {yiyeTat 1. . . 11 /cal 'AXKindv 5e cruJ^excDs AioA.Kal 'AAK. A. G36 f [tt. 14. 107. Pron.M. 6 5e 'A\/cftav ravala irdWa ickui? 145 AtoA-etj ^era Tou F /fara Trafra»' rrTwffiv Apoll. .uaf 5e fxdyaSiv 8' cprjcrr diroOeaOai 144 E. 143 Ath.t^a.LYRA GRAECA 142 Cram. 7 avaiov Kal avcriov yei 6 fxkv ''1$vkos .

conipare Alcnian : thread and pitiless the necessity is tlie for vT]\€r]s. 197 ' the contents thrown down and not played with this Book being unknown. too. I have put into it all the thread ' . : own troubles B 'one of the Fates was ^ArapTrco Sch. 'pitiable.' 143 at Dinner [on the nuisical instrument Anrl Alcman. for instance . says Athenaeus Dodors called vutgivUs] : : to lay aside tlie lute 144 Elymologicura this form . Od. . Magnum : avffiov. i. useless . remaining fragments of a personal type 127 .' is derived from eAefij/ri. e. 7. .: ALCMAN' U2 Cramer Incdita {OxfonJ) change froni tj fKaros iTnr-fiXaTos Thin But : if they begin with e the to long a cloes not take place. ^ .^ 3 145 Apollonius Pnrnouns The Aeolians use the digamma-forms every case and gender and Alcman is regularly : in . . 'pitiless. an idle BOOK VI ' : Iljycus uses compare ball. but Alcman I will lie ' raixrios idle. Aeolic in his ^ " of .

. a(. .. yeyovhs cf.'aj Trapdywyov Ae-yet oTi &^(o 23 06 'HpcoSiaj^bs eV 6 toJ Trepi riaflwj/ tov dyos dyi^oj Kal KaTa avyKOiTrjv Sk tov Thv \WK/J. 6 ^rJTei virovoixos. virep twu TeTTdpctiV 3. .dva elirelv icTTiv dirh TTodev 5e 57i\ov . . 949 2. An. 5e\eap. 148 Hesych. 149 E. 147 E. 150 Bek. Aristid. 5oav. . 5av..LYRA GRAECA 146 Sch. aylaSeo dvT\ Tov ^feo. . 22. (pepeTai rov 228.M. AwpiKcis o^vveTaL. ^ al9/xa- SeAeap: mss yepyvpa ovtw mss Srji'. 490 6 KpTjs otj Thv irovTov irapoiixia eTrl tuv cIZotu^v juej/ npoffTTOioviievwv 5' ayvoeiv avT\ Tov vqaLwTTis ayvoe7 ttjp' 6d\aTTav Ae^yeroi Se r] irapoi'AKK/j. .to de avTh Kal alQjxa- ^ irapd 'A\KiJ. dadixa - Mein . els Kvpioos to yopyvpa- 5t' ov Ta uSaTa 6 5e 'A\Kfxdv did e yepyvpa 3 (priaL. . . 'A\Kfj.av S' 6 \vpiKhs fiia Kal ovTUiS. . t^ Sodv •Kap' 'A^KjxdvL ^ mss 128 Schmidt. .aia}Vi Hesych. IJ.6 2i/<-eAos tt]v QaXaTTav .€uv7]TaL TTJs Tvapoifxias.M. 25 yepyvpa- Ta oufipia .dvi" »} Ae'|is.

the word occurs in Alcman. . 42. 2. ' " .^ where. 149 Etymologicum Magnum : yepyvpa : underground . stand tbou in awe 148 I Hesychius Glossary p\-np' : bait aml another word for it is aldij. . ^ cf. Jo. quoted as mentioning the proverb) ^ cf. 150 Bekker Inedita : The word for a in 5ody. . Aa. ALCMAN 146 Scholiast on Aristides On behalf o/ the Four Great Athenians Proverbial of those wlio know The Cretan and the sea the islander does not it means but pretend they do not The The proverb also has this form know the sea It is mentioned b}' the lyric poet Sicilian and the sea' : : ' . Alex. last syllable. is I VOL. ' — .' o^iCw by syncope a^o) is clear from Alcmans use of ayiaZio for a^io Etymologicnm On a^w .^ U7 Magnum: Herodian in his treatise Injiexions declares that it is derived from a-yo^. yepyvpa. Alcman. 5r)v. arriving 5dv. 4S1.. . Bek. 131 10.. : . properly that which carries off rainwater see the note on yopyvpa ))ut Alcman uses the e-form. 5odv. 570 '233. 27 Alcaeus An. guilt or and wliy he sajs so.a . : Strab. Alcman has an acute accent on the at this ^ cf. form thus 1. however. I K 29 . long wbile. . expiation. 1. . . Paro^m. Bek.

av dj/Ti rjaiy. . '2S TjSvfxos . 420. avTLQiaei tov v eis A. 190. 20 7)Tt Sf Xfyei ^A\Kjj. . 1. t6 5e inrfpOeTiKhv . Od. w avT kcXToixovcri Acopiels ev Toi <pi\TaTos (plvTaTos . dSvfjLearaTOv *A\KjULav ^ e(p7}. 1892. A.M.<T/j.fvov riv i-rrl AMpiKxs.a. 153 en lcneov Ka\ oti Th Elist. KeKeTO KeVTO irapa 'AXKfxuvi. jX€TaTr. ^ " 130 mss rjZvfjLeaTaTov .M. 154 Cram. 7'>6. t^ oe Trapa 'A\K/j. 136 . 30 . Vet.LYRA GRAECA 151 E.ov airh rov ^drpocpov. . . 152 £.O. 44 TpiTov €viKov Trpo(XU)nov 6 'A^KjJLay Xeyei y. Tc-i) 155 ?]ust II.eTeiKT^/xj^e^ov tov v eis (T flpr]/j. .ui KavovKTTeov Karh.

pleasantest 153 Enstathins on the Odyssey : It shonld be nnderstood. <pi\TaTos dearest . instead of r]ai." 154 (hamer Tnedita {Oxford) Alcman : nses the form t}tI. .ALCMAN 151 OM Magnum The Etyniologicum fonn ^aTpacpa : ^ well-fed Alcinaa iii is to be classed as a metaplasni of (dTpo^pou. lie in . Aleman nses the snperlative aZvfxfaTaTov. substitntion which the Dorians make in saying (pivTaTos for k€Vto for KeXeTo. . . in Alenian. 152 Etymologicum Magiium\ tjSv^os. a Eustathius on tlie IliaLl . . 234 k2 . 'pleasant'. 1 apparently acc. . prayed. 155 by the change of »/ to A. ^ cf. saith. Fav. too. : ' ' . Alcman. sing. he was. that tlie third person singular ^u takes the forni ^s. . by the Doric change of to j/ o-.

. 137 [avas]Kal ro vavos i$apvvero . . Ka\ Trap' 'A\Kuavi Trepaaa' •<7repj>. OIJTL^ ro Cvov rrap^ 'A\K/xavi. rreipara' Trcpara.LYRA GRAECA 156 Ath. II. Koi 'A\Kij. eVel Kai ro Sch.^ 160 tcroiS 8e ^e0apvr6vr}rai.riadwv. ^ Reitz. . . 3. ^ Trap' 'A\K/xa. Od. y\iavos 132 cf. 40 Ta yap ets ris X-r^yovra 6r]\vKa 5L(TvWa$a. A. (prjcrl irapa ro fxacraaQai.M. said ireppara - E : mss . 17. II. napaXrjyo/xeva Se rcf) o ijroi /xovcf ^ (Tvv kripu) <p(t3vr]evri. 23. 12.av Kal ras yvddovs fid(rTaKa<. 128. J^et. .dv.vi. 133: perh. 157 Sch. (f)avo<. . o^vvecrdai dekei.Ti)(Tixopos . 158 Sch. . Koirls. 159 E. 81 (1 KvScovLcov firjXojv fxvQjxovev^i '2. 76 [fidaraKa]- 6 Se ^A\K/j. /xr) ivra iirideriKd.

in Alcman. Mght. and in Alcman in the form ir4pa<Ta. Arc. . . 157 Scholiast on the Odys$ey : Alcman calls the jaws ^acTTOKes. have the acute and accent on the last syllable. outis. which are not epithets and of which the penultimate syllable contains o either simple or in a diphthong. the animal.^ 159 Old Etymologicum Magnuvi : ir^ipaTa : ends. . 3 . : . and Alcman. in Alcman.ALCMAN 156 Athenaeus Dodors Dinner af : Cydoniau apples or quinces are mentioned by Stesichorus . . * cf. {On [nflexions). from fiaffdoixai ' to chew.' 158 Scholiast on the Iliad Feminine dissyllables ending in -tis. . . . 35. for instance koitIs. and : : ' (pavos for (pdos. 160 Scholiast on the Iliad aZas perhaps it has been circumflexed on the first like vavos for vaos 'temple.

' tt1ov. Coislin.'' ^ ms 134 ^ veovTa Hesych. Lect. . . . Rostock cod. 31 (2. .eipr]v. 'A\Kfxap 5e €7rt T&ii' olarwp TcdeiKe rrjv Ae'|ti/. Aiiach. 915 Lentz) €vpvnu>v 'A\Kixdv OLac o evpvTTCov ^ 164 Sch. 6 B( 'A\Kfj. 9. 394 oXKd<. . 163 Hdn. 162 E.'^ ^ Kal Trapa 'A^Kfiavi aridwv* Kal '2.LYRA GRAECA 161 Sch. <ivavs (popTriy^s. .01'. .av to a^d\(. 165 Reitz. ^. . o2 . 5. 92 lavefiwva]' .M. mss flprjvr) ^ * so B : Hesych mss evpvorrwv a^Kfiols ^5e ^vttwv ^ Voss mss here dej5w»' : : . l^axri^ios 5e ras avefxo^vas napa AaKwai (j)aiviha<^ Ka\e~iaQai (br^aiv. 0d\e- Vct. Theocr. oiov d/3d\e Kal voeovra ^ yiveTai. Ind. Luc.

163 Herodian Words compare Alcman ivithout Parallcl fvpvirwv But they ' splay boted wliom splay-footed to .^ that which draws' cf. . . '0 would that. . . . bj' Reitzenstein : 6\Kds : A Alcman alhiring of the nightingale * and the the word means ' .Scholiast : . l^ 03 . . . : 164 on Theocritus [windflower] Sosibius the anemone or windflower is called .Siren.ALCMAN 161 .m Magnmn Alcnian uses tbe form a$d\€. . Hesvch. b}- according to the Spartans sliine-briorht.v. s.Scholiasl uu Lucian yippov : .' for instance ' : O would tliat : both discrcet . 165 Froui a manuscript quoted ship a merchant-ship and in . Alcman uses tlie word of arrows 162 would tliat ySaAe Old Etymologicii. . .

. eovTa Kidapcphov tcov TOTe iovTCDV ovSevo<i SevTepov /cal Si0vpa/jL/3ov dvdpooTrcDv tmv ?. . e7ridvp.fjaai Tr\o)aai e? ^\Ta\ii]V re Kal XiKe\irjv epyaad/xevov he ')(p/]fiaTa /jLeyd\a 6e\rjaai oTriaco e'? 1^6piv6ov 6p/ida6ai (i7riKea6ai' vvv /lev TdpavTO^. .APIONOS Bt09 Hdt. Oov.yu6t? iSpev rroiyjaavTd ovopdaavTa Ka\ SiSd^avTa ev Yiopiv6(p. Tolai eS(o\ioiai Sie^eelv vo/xov tov 6p6iov' Te\€VT(Jt)VTo<. cr(f)i 23 1. e^rl €7rl TaiKal \pL0v6^ eaTL dvd6y]/ia '^d^Keov ov Taivdp(p. €7Ti S€\(f)ivo<. to^» oe evSvvTa Te aKevi/v Kal \a/3ovTa tt/v Ki6dpj]v.. TovTov Tov ApLOva \eyovaL tov ttoWov tov TrpodTov T€ Kal ')(^p6vov hiaTpi^ovTa irapd Tlepidvhpcp.opLv- \eyov(TL IxopivOLOi Aea/Sioi — ev tw — ofioXoyeovaL Ow/ia /Blo) jJLeyiCTTov 8e Trapa- aTYjvaiy Wpiova tov yi7]6v/jLvaiov eVt Se\(f)ivo<i e^evei^devTa eVl Taivapov. .opiv6ioiai irXolov dvBpcov K. eTvecov dv6pa)7ro<. ey^eiv TTaaav tyjv ardvTa ev tcl j^^pyj/iaTa .opiv6i(i)V tou? 8e ev Ta> ire^dyei €7nl3ov\eveiv tov \piova eK^a- /jLia6(joaaa6ai vTa<. Be tov vo/iov plyjrai /liv e'? Tijv 6d\aaaav ecovTov o)? f^%e «T^i/i^ ttj aKevfj rrdarj' Kal tou? /lev d7r07r\€€iv e'? KopLvOov tov 3e \eyovai v7To\a^6vTa e^evelKai S€\(f)Lva vapov /leya 136 . . Ik TTiaTevovTa Be ovSa/iolai /laWov rj K. rw St] ervpdvveve he o Tiepiavhpo'^ K.

namely tlie rescue of Arion of Methymna from the sea at Taenarum by This Arion was the finest singer to the a dolpliin. and is the first recorded com))oser of dithyrambs. . into the sea. dress and all. : Corinth. . .. ARION LlFE Periander was des})ot of Herodotus Historics During his lifetime^ according to the and indeed the Lesbians Corinthians a very marvellous thing took place. and sorae time afterwards. . Puttingon all his harper's dress and grasping his lyre^ he took his stand in the sternsheets. determined to Accordingly he set sail from return to Corinth. it seems. — — . The crew continued their voyage to Corinth but meanwhile a dolphin. consisting of a man upon a dolphin's back. Then he threw liimself just as he was. It seems that he spent most of his life at the court of Periander but one day conceiving a desire to visit Italy and Sicily. took Arion upon his back and carried him ashore at Taenarum. . and went throujjh the Orthian or Hii^lipitched Nome from beginning to end. a people whom he thought^ of all men. having made large sums of money there. Tarentum. There is a small bronze votive-offering of Arion on the promontory of Taenarum. he did so. chartering a vessel manned bv Corinthians. . lie could But when they reached the open sea the trust. Ivre then known. . which he named and trained Corinthian choirs to perform. crew conspired to secure his money bv throwing him overboard.

^Aycovcov. Phot. . yeveaOaL. WovaLKMV . 618. iv tw Ylepl Be iv tol^ }s. p.. . et? iyvcopi^eTo Taivapov Wrjdv/jL- SLeacadrj. 12.. 01. Se tov ScOvpa/ji^op Orjvat UlvBapo^ Xeyer rov Se cip^d/ievov t?}? (pSrj<. N. 1403 [KVKXLo^ihdaKaXov]' Kal EjV(ppovLO^ 7raTpo<. Kal fxadr/TTjV WXKfxdvo'^ laToprjaav avTOV. elaeveySuid. Chrest. 25. Ku/cXeco? Tive^. Be vi6<. AptaTOKXrj<. D. Ar. 40. 45 quotes the hymn of thanks to ^ 138 mss 'ApiffTorfXrjs - mss Kpava'{Ko7s . . Kal ^aTvpov<. Keiv e/i/jbeTpa XeyovTa<. 13." ^Apicov ^l7]0v/jivaLo<. Strab. koI . Xopov aTTJaaL. Wvtl- Sch. Tov ^lrjOviJLvalov.apveoviKaL<. Kal irpoiTO<. Paus. ALKatap^^^^o^. Av. yeyove KaTa ttjv Xrj' 'OXvfjiTrLdBa. ap.M. Trpooi/na eh eTrr/ ^' TpayLKOV TpoTTOv evpeTr]<. Bibl. Euseb.A. Vide Luc. ^ Apiovd (f)7]aiv eivai. kvkXlov^. 8. 7 . 3... eypa-yjre XeyeraL Kal Se da/jiaTa. . evpeiv KopivOqy Procl.LYRA GRAECA 320 Bek. . oTepoL. Kal SiOvpa/i/^ov aaai Kal ovo/iaaai t6 ah6/JLevov vtto tov xopov. Ael.. ')(^opovs aTi)(TaL irpoiTOv 'EX\dvLKO<. ol he dpycLL- Apiova AiKaiap^^o^. Apiwv 4 valo^' ovTO^ ejrl Be\(f)ivo<. XvpiKo^. o? 7rp6}T0<^ tov kvkKlov ^ il^yaye yopov. tov<^ (pacrl Aaaov fiev FjXXdvLKO^.

the former in liis List qf Ccimcan . . He composed songs. : Scholiast on Aristophanes [cvclic-chorus-trainer] declare that the Antipater and Euphronius cychc or circular clioruses were first assembled by Lasus. 139 . Eusebius Chroniclc : Fourth year the of 40th Olympiad (b. who was rescued bv a dolphin off Taenarum. . 617) Flourished Arion of Methynma.c. namely two Books of Preludes to Epic poems. . the first trainer of tlie cyclic or circular : chorus. iii for other refs. Victor. son of Cycleus. however. Suidas Lexicon Arion Of Methvmna^ lyric poet.c.s . He is also said to have been the inventor of the tragic style. to give that name to the song of the chorus. and to have been the first to assemble a chorus. much . namely Hellanicus and Dicaearchus. . and . : : Poseidon ascribed to Arion this hymn being of later date will be found in vol. flourished in the 38th Olympiad (b. The earher authorities. ascribe their origin to Arion of Methymna. to sing a dithyramb. see Pauly-Wiss. Ueal-EncycV. and to introduce Satyrs speaking in metre.: LIFE OF ARION Proclus Chrestoinathii According to Pindar the ditbyramb was invented at Corinth. and we are told by Aristocles that the originator of tliis sonfr was Arion. tlie latter in Trcatisc on the Mi/sical liis Contests. According to some authorities he was a pupil of Alcman. 628—625).

eTaipa^. Slcl jroiav alTiav tovto eaTTOvhaKeVy bSe ec^rj' "\va /jiaOcov avTo diroOdvw. ol X. KaTCL^A/jLaaLV ^aaL\evovTa Ibid. Tdcf)0<. aaavT0<^.Bto9 AlXtavov. ^adrj to5 fieXcL Kal TTpoaeTa^e tw fjieLpaKLcp hLhd^aL avTov. ^a7Tcf)a) /lev 140 rjv aK/id- 'VoBco7Ti<. Nau- KpdTL €7racf)p6SLTOL ylyveaOaL al eTalpai' tovto /lev ydp avTrj 7% Trepi \eyeTaL oSe o X0709 ovtco Br/ TL K\r}ve<s eyeveTO ft)9 fcal 7rdvT€<. 808 epco/ievrjv [tt. ev kco<s Trj Trj<. vtto tcov tov dSe\cf)Ov avTrj^. (jt)9 . . 134 ^ovaa Str. rj \eyeTai Se t^9 TTvpa/iiBcov]' yeyovco^. ev /ie\€L "^aTTcf^co KaTeKepT^/jirjae /iLV. 58 ^ Fj^rfKecTTLSou ' Hdt. Se To ovvo/ia €^€/iaOov \vadpevo^ 'PoScottlv diTevoaTrjae eV ^lvTL\r]vr)v. epaaTCOv. TL XaTrcf^ov^. Tchv /ie\cov TTOLrjTpia . 2. Se vtto /jLeydXcov '^(^p^jfxdTcov ^apd^ov yivTLXrjvaLov dvSpo^ hpwvv/iov iraLho^ d8e\cf)€ov Se tov ^Kaiiav- 'Ea7rcf)ov<.^ Stob. . rjv Ka\€L ^copLy^av. K\€Lvr] 'VoBcoTTLof. cf)L\eovaL . . . 29. 17. "B^dvOeco KaT 135 'Po3fo)7rf9 3e 69 AI^vittov aTTLKeTO Tov ^a/iLov KOfJLLaavTO^' dTTLKOjjLevq he epyaaLrjv eXvOr) /lovaoTTOLOv. ^apd^ov yeyovvlav.X6\o)v 6 AOrjvalo^ irapa itotov tov aSeXcf^iSov avTov /jL€\o<.. epcoTijcravTO<i Be TLvo<. Fl.dpa^o<.

Histories in Egypt ply her trade by Xantlies of Samos. Sappho soundly rated him in a poem. : .SAPPHO LlFE — One evening over Aelian Stobaeus Anthology wine. one of whom we are speaking became so famous as to be a household word throughout tlie Greek When Charaxus returned to Mytilene world. from whom she was bought at a great price and given her freedom by a Mytilenaean named Charaxus. . . Execestides the nephew of Solon the Athenian sang a song of Saj)pho's which his uncle Hked so much that he bade the boy teach it him. the son of Scamandronymus and brother of the poetess It seems that the courtesans of NauSappho. . The Same : Rhodopis flourished the reign of in King Amasis. . . At any rate the cratis are particularly attractive. There is a Pyramids] by her lovers as the tomb of the courtesan who is sometimes called Rhodopis but is known as Doricha to the lyric poetess Sappho.' Kliodopis was brought to Herodotus. whose brother Charaxus made her Strabo Geograp/n/ story that this one [the was : built 141 . and when one of the company asked in surprise ' VVhat for ? he replied ' I want to learn it and : : tiie ' die. after setting Rhodopis free.

LYRA GRAECA
olvov

/caTdyovTO^;

€/jL7TopLav,

aWoL

et?

5'

^avKpaTCv Aecr^Lov KaT

ovo/jLa^ovaL 'PoScottiv.

Ath. 10. 424 e
(pvo^oovv t€ irapa tol<^ dp')(aLOL<^
€vy€V€aTaTOL TratSe?
SaTr^co t€ 7} KaXrj
TToWa^^pv Adpty^ov tov dBe\(f)bv iiraLvel co?
olvo^oovvTa ev tcd irpvTaveiw toI<; ^lvTLjvaL0i<;.

01

.

.

.

617 [tt. ^lvTLXijvr)'^^'
avv7]K/jLaae 8e
(TlLTTaK(p Kal AXKaL(p) Kal 7] Sa7r(})(i),
Oavp^aaTov tl j^^prjpa' ov yap La/juev ev tw ToaovT(p
Xp6v(p T(p pvy]povevopev(p (paveladv TLva yvvalKa
Str.

13.

TOVTOL<;

ivd/iLXXov

ovSe

KaTa

pLKpov

iKeivr/

TroLy/aeo)^

XdpLv.

^Epeaov]'
ef ^Epeaov S' ^/aav
Seocf^paaTo^; Te Ka\ ^^avLa<; ol iK tmv TrepLTrdTcov

G18

Ibid.

[tt.

cf)LX6ao<f)OL.

Sch. Plat. Phaedr. 235 c

^a7r<f)co

XvpLKrj

ttol-

T/TpLay %Ka/iavBpa)vv/iov, ^vlvTLXr/vaia.

Ma?'m. Par. 36

a<^'

ov

^a7r(f)(t)

iK XlvTLXt/vrj^

^LKeXiav eTrXe.vae (f)vyovaa [to SevTep]ov ^ [eTrj
HHHAAAIIII, ap^oJi^To? \6ijvijaLv /lev KpLTiov
Tov TrpoTepov, iv ^vpaKOvaaaL^ Be tcjv ya/i6pcov

6t?

KaTexpvTwv

TTjv dpx^jv.

Euseb. 01. 45.
habentur.

2

^

Sappho

et

Alcaeus poetae

clari

1 JE, cf.

mss
^

142

Sch. Berl-Aberd. Alcaeus C.H. 1917. 33

45.

1

cf.

Suid.

Ata-wiros,

Phot. Lex.

'PoSuttiSos

-

aydBriina,

some

Ov.

:

LIFE OF SAPPHO
one of his
a cargo of Lesbian wirie.^

his mistress oii

visits

to Naucratis with

Dinner It was the custom
amon<j the ancients for the bovs of noblest birth to
The beautiful Sappho often
pour out the wine.
sings the praises of her brother Larichus as serving
tlie wine in the town-hall of Mytilene.-

Athenaeus Docfors
.

al

.

:

.

Contemporary
Strabo Gcograp/iy [on Mytilene]
was
Sappho
a marvel.
with Pittacus and Alcaeus
In all the centuries since history began we know
of no woman who could be said with any approach
to truth to have rivalled her as a poet.
:

The Same

This was the birtli})lace
[on Eresus]
and Phanias, the Peripatetic philo:

of Tiieophrastus
sophers."*

SchoUast on

Plato

poetess, daughter of

Sappho
A lyric
Phaedrus
Scamandronymus a native of
:

:

;

Mytilene.^

Parian

Chronicle

:

From the time when Sappho

went from Mytilene to

Sicily wlien banished [the
second time, 334 years^] in the archonship of the
earlier Critias at

or

Landowners

Athens and

tlie rule

of

tlie

Gamori

at Syracuse (b.c. 598).^

Eusebius Chronicle

:

Olympiad

45.

2 (b.c,

598)

Flourished the poets Sappho and Alcaeus.

n

oq. 234
2 ^f^ geh.
4. .^l
he would have mentioned fS. had he believed her to have
* the date
* cf. Mosch. 3. 92
been born tliere
occurs in a gap, but is prob. right
in any case it must lie
betw. 605 and 591

Ep. 15. U8, Paroem. App.

*

;

143

LYRA GRAECA
Hermes.

ap. Ath. 598 b

.

.

.

Aeo"y5t09 AX/cato? Be tto(tov<; dveBe^aro

K(t)/jLov<i

Xa7r(f)ov<; cpop/jLL^cov IfxepoevTa iroOov
'yi,V(t)o-Kei<;.

6 3' dotSof; dr/Sovo^ T/pciaaO^ v/jLV(ov

TrjLOv dXyvvcov

dvSpa

7ro\v(f>paSi,T]

.

.

.

Ath. 599 c
iv tovtol<; 6 '^ppirjaLdva^ a(j)dXXeTat avyx^povelv ol6fievo<s — avrc^ct) kol AvaKpeovTa, Tov p.ev Kard K.vpov koI TloXvKpdTrjv
AXvdTTijv tov }s.poiaov
yevo/jLevov, tt/v Be KaT
iraTepa.

Ov. Ep. 15. 61 [Sappho Phaoni]
Sex mihi natales ierant, cum lecta parentis
ante diem lacrimas ossa bibere meas.

^^vvea AvpLKOv<;'
^Kvvea tS)v rrpcoTcov XvpiKOiv irdTpr/v yevet]v re
/idvOave, Kal 7raTepa<; Kal SidXeKTov dOpei.
Mv ^lvTi\r/valo<i pcv er/v yepap(t)Tepo<; dWcov

Sch. Pind

:

et? tov<;

^A\KaLO<; irpoTepo^
r/

B^ errl T(p

Xa7r(f)Ci)

AloXlBi]^.

^vvr/v irdTpr/v (p(Ovr/v re

^a7r(f)(o KX7/lSo<;

Suid.

r]-)(^LKo<;

(a/

Saelaa

Kal 7raTpo<; Rvpvyvov

^i/jL(Ovo<;'

ol he

.

.

.

Kvvo/iivov^

he l^jvpvyvov^ ol he 'E/cpuTOf oi he ^rj/iov oi
^Ka/i'EKd/icovo<;'^ ol he ^vdpy^ov'^ ol he
Be
Aea/Sia
he
KXei^o?'
/ii/Tpo^;
avhpcovv/iov
e'f
OL

'Epecrof,^ \vpLKi]' yeyovvla

Kard

tt/v

yu./3'

^0\v/i-

Triaha, ore Kal 'AX/cato? r/v Kal '^Tt/ai^y^^opo^; kol
r/aav he avTr/ dSe\(f)ol Tpel<; Aa/ji^o?,.
TTiTTa/co9.
^ mss 'Hepiyvov but Eud. Evpiyvou
^ mss also Evhtjvov
^ ms3 and Str. 13. 618
* mss 'Erdpxov
mss Kd/jLuvos
'Epe(T(Tov but coins have a

^

144

LIFE OF SAPPHO
Hermesianax qiioted by Athenaeus

Docfnrs

af

And Lesbian Alcaeus, thou knowest
a serenade he thrummed out iiis dehghtful love of Sapplio
the poet loved tliat nightingale
of hymns and vexed tiie nian of Teos with iiis
eloquence.^
Dimier

:

.

.

in

.

how many

;

In tliese lines Hermemaking Sapplio contem})orary

Athenaeus [on the Same]
sianax
witli

is

wrong

Anacreon.

in

:

She belongs

father of Croesus, whereas
and Polycrates.

lie

to the time of Alyattes

coeval witli Cyrus

is

Ovid Leiters of the Ileroines [Sappho to Pliaon] I
was but six years old wlien tlie bones of a parent
:

received the too-early drink-offering of

my

tears.

Preserved by the Scholiast on Pindar
On tlie
Nine Lyric Poets Now sliall you learn the birth})lace and lineage of the great lyric poets, and
First
beliold botli tlieir fatliers and their language.
was Alcaeus of Mytilene^ tlie most lionoured [or
and
eldest] of them all, a resonant son of Aeolus
next to him one of the same city and speech, Sappho
daugliter of Eurygyus and Cleis
:

:

;

.

.

.

Suidas Leiicon Sappho (1*^ notice) Daughter of
or of Eunominus, or of Eurygyus,^ or of
Ecrytus, or of Semus, or of Scamon,^ or of Euarchus,
or of Scamandronymus
A
mother's name Cleis.
Lesbian of Eresus,* a lyric poetess flourished in the
42nd Olympiad (n.c. G 12-609) along with Alcaeus,
:

:

Simon

;

;

Stesicliorus,
^

cf.

and

Ov. Ep.

(loubtful

;

cf.

15.

Pittacus.

29

^

She

liad tliree brothers,

the exact forni of the name is
Larichus of Mytilene, tewp.
^ abbrev. of Scanianch-onynius

'Epiyvios son of

Alexander, Diod. 17. 27
perh. wrong, see above

*

145
VOL.

I.

L

LYRA GRAECA
^
^vpvyvo^i?he Kep/cojXa
eyafiriOT]
dvSpl irXovaicoTdrcp, opjxojyievw diio "AvSpov Kal

Xa/^af 09,

Ovyarepa iiroirjaaTO e^ avTOv i) KXel? ojvopidaOr).
eralpaL 8e avTrj<; Kal cf^iXaL yeyovaai Tpei<;, 'Ar^t?,
TeXeaiTTTra, Xleydpa'

tt/oo?

a?

/cal Bia/SoXyjv

ea^^ev

^Avayopa ^
^liXrjala, ToyyvXa KoXocpcjvia, RvveiKa Xa\aeypayjre 8e fieXcov XvpiKO)V ^L^Xia 6'.
pLLvia.
ala^^^pd^;

cf)i,\ia<;.

p.a6i]TpLai he auT?}^

KOi 7Tpo)T7] TrXijKTpov evpev. eypay\re Se Kal
ypdp.p.aTa Kai idp/3ov<; Kal fiovoiSia^;.

eiTL-

Suid.

Sa7r(f)0) (/S')Aeaffia eK ^lvTiXt]vrj<;,
XTpia.
avri] Sl epcoTa ^do)vo<; tov MuTtXi]vaiov eK tov AevKciTov KaTerrovTLaev eavTi]v.
TLve<; Se Kal TavTi]<; elvai XvpLKr]V dveypayjrav
yjr

TToiijaLv.

Ael.

J.H.

12,

19

Tr]v TTOii^jTpiav 'Eaircpo)

Tr]V

^KapiavSpcovv/jLov OvyaTepa' TavTr]v KOi YVXdTcDV
6 Wpiarcovo^ aocf)7]v dvaypd^ei' TrvvOdvojiaL 8e
OTL Kal eTepa ev

Aea^cp eyeveTO

Trj

SaTrc^o),

eTalpa

OV TTOLlJTpLa.

Ath. 13. 571 d

KaXovaL yovv Kal al eXevOepai

yvvdiKe<; €tl Kal vvv Kal ai irapOevoL Td<; avvt']Oei<;

Kal

(f>i\a<;

eraipa^,

co<;

r)

%a7T(f)ci)

Ov. 7'W.v/. 2. 365
Lesbia quid docuit Sappho
tuta
^

nisi

.

.

.

amare puellas

f

tamen Sappho ...

inss Evpvyiov

^

mss

also KepKvka

^

'AuaKTOpia

''.

^ or
pUed as a trader between A. (an lonian city) and
^ Anactoria?
2 cf. Ov. Ej). lo. 70, 120
Le.sbos?
* 'quill' prob. a mistake for jiedis, a kind of lyre, cf. Atli.
^ this must come from another source.
14. (i.S") e (below)

146

LIFE OF SAPPHO
She was married

Charaxus, Eurvgvus.

l.ariclius,

to a very rich maii called Cerculas [or Cercylas]

who

came from Andros,i and had bv him a dauGfliter
named Cieis.- She had three companions or friends,
Atthis, Telesipjia, and Megara, to whom she was
slanderously dechired to be bound by an impure
affection.
Her pupils or disciples were Anagora ^
of Miletus, Gongyla of Colophon, E,uneica of Salamis.
She wrote nine Books of Lyric Poems, and was
inventor of the quill for striking the lyre.*
[She wrote also
inscriptions/ iambic verse, and
monodies.]^
the

'^

Suidas Lejicon
Sappho {p.nd noiice) A Lesbian of
Mytilene, a lyre-player. She threw herself from the
Leucadian CHff for love of Phaon the Mytilenaean.
Some authorities say that she too was a Ivric
:

:

poetess.

Aelian Histoiical Miscellanies [in the next article
on Phaon ^] The poetess Sappho daughter
of Scamandronymus
Even Plato son of Ariston
calls her wise."
I understand that there was another
Sappho in Lesbos, a courtesan, not a poetess.

to that

:

:

Athenaeus

Doctor.s at

day, and

Dinner

:

Freeborn

women

intimates and
friends hctaerae or companions [the usual word for
courtesan], as Sappho does in this passage (/)•. 12).
to

this

girls,

call

their

Ovid Songs of Sadness: What lore did Sapplio
teach but how to love maidens : ^
Yet Sappho was
safe

.

.

.

monodies would cover niost of the contents of
^ n.h. he gives no other hint of a conher nine Books
nexion between tlie two
the Greek means 'good at
()ne's art or trade
or teach her maidens but how to love
as tbe terin

'

'

"'

'

•*

M7
L 2

LYRA GRAECA
Sen. Ep. 88 quattuor milia librorum Didymus
grammaticus scripsit. misererer si tam multa supervacua legisset. in his libris de patria Homeri
quaeritur, in his de Aeneae raatre vera, in his
Hbidinosior Anacreon an ebriosior vixerit, in his an
Sappho publica fuerit^ et aHa quae erant dediscenda
si scires
i nunc et lonrjam esse vitam nejra.
;

Ath. 13. 596 b

KaWei

evho^ov^

Sia(f>€povaa'^

A(i}pL)(^av

T€,

Tjv

7]

he

yjvey/cev

KaXi-j

kTaipa<^

Kal

'^aircpco

Kal

iirl

^av/<paTC<;'

r}

epcofiivrjv

yev-

^apd^ov tov dS€X(j)ov avTf]<; KaT ipLiTopiav
et? Ti]v ^avKpaTLv diraipovTo<; 8id t7]<; 7roLi]aeco<;
Sia/SaWeL &)? TroWd tov \apd^ov vocr(f)iaap,ivr]v.
opivrjv

avTi]v 'PoSmttlv KaXel} dyvooiv otl

'HyooSoTo?

3'

€T€pa

i\(opL)(^i]<;

Ti]<;

/3oi]Tov<;

icTTlv avTTj,

6/3€\iaKOv<;

i)

dvaOelaa iv

Kal tov<; TrepiAeX(^oi?, wv

SLa tovtcov
eh Se ttjv
A(opi)(av ToS eTToirjae Toviriypappia YloaeihLinro';,
KaLTOL Kal iv Trj AlacoTreia - 7roX\dKi<; avTr]<;
/jLV7]povevaa<;.
eVrl Se Tode'
/j,ipvi]TaL

A(opL)(a,

K.paTlvo^;

oaTia

.

.

.

p,€V a' diraXi)'; KoapLTja^

diroSeapa

^

^atT7;9 7] T€ pvpcov €K7rvoo<; dpire^^ovi]
y iTOTe Tov ^^apievTa TrepLaTeiXaaa^ ^dpa^ov
avy)(pov<; opdpivoov i^^jrao KLaav^Lcov.
'h.a7r(f)(pai; ^ Be pivovai (piXi]^; eVi Kal p^eviovaiv
(pSi]<; al XevKal <^6 eyy pevaL ae\ihe<;'
6
ovvopa aov pLaKdpiaTov, o lSavKpaTL<; (bSe (j)v\a^€L
eaT^ dvirj NetA.ou vavi; e(f)a\o'; Tevdyr].^
1

^ ^yii
^ ^^ cf.
,„j,g At0toirt'a
Str. 17. 808
Sea/xa and for rliythm A.P. 12. 98. 1
mss aTroAa
(taking h^a-jia for plur. ) KoipLTicraTo Zeajjiwv (gen. due to airh)
*
^ mss ^aircpcfai
^ mss ecTav etr) and yeyavr]
mS3 pres.

cf.

a.Tro5€<x/xos,

E

148

:

.

:

LIFE OF SAPPHO
Seneca Lettcrs to Lucilius Tlie grammarian DidyI sliould pity him
miis wrote four tliousand books.
The
if he liad merely read so many useless works.
Hst inckides treatises in which he discusses the
:

hirthplace of Homer, the true mother of Aeneas,
Avhether Anacreon was more of a rake than a sot,
whether Sappho was a prostitute, and other questions the answers to which you ought to forget if
you knew tliem. And then people complain that

Hfe

is

short.^

Athenaeus Doctois at Dinncr Naucratis too was
the home of some famous and extremely beautiful
courtesans.
Doricha, who became the mistress of
Sap])ho's brother Charaxus when his business took
liim to Naucratis. is trounced by liis sister in a poem
for liaving fleeced liim.But Herodotus calls lier
:

Hhodopis,^ not understanding that Doricha is not
the same as the woman who dedicated at Delphi
.^
Tlic
thc famous spits mentioned by Cratinus
foHowing epigram was written on Doricha by Poseidip])us, who sj^eaks of hermany times in the Acsopcia
'Tis but your bones they adorn now, Doricha, that
band for your dainty hair, that sj)ice-breathing
mantle vou wrapped the fair Charaxus in, to lie
breast to brcast with you till 'twas time for the
morning cup
yet the white s})eaking pages of
Ha})|)y
Sa])]i]io's dear song abides and ever wiH.
your name, which Naucratis thus wiH keep for her
own so long as sea-going ship sails up the shaHows
of tlie Nile.' ^
Moreovcr tliere was a certain
.

.

:

'

;

^

.331,

cf.

Mart.

r.em. 761
*

.S08

lagoons

;

7.

G9,
«

quotation

N. was 30

K».
cf.

80, Ai)ul. Ai)ol. 413. Ov.

Ov. Ep.

loi=t

niiles

^

15. 63,

i. e.

117

.steers its

A.A.

3.

' cf. JStr.

17.

way among

the

from the sea

149

LYRA GRAECA
Apy^ehiKi] S'

^avKpciTeco^; Kal
e^ ^Fipeaov 8e r?}?
<eTepa<^ 'EaTcf^ov^ ofKovvfio'^^ eTaipa ^ tov KaXov

Kai

^

^

.

Trj<i

Kal

?;

7repil3oJ]TO<;

452

AevKdBo<;]'

[tt.

AevKaTa 'AttoWcoj/o?
€pcoTa<;

.

w?

r)v,

(f)rjai

ev IlepL7rk(p 'Acr/a?.

10.

Str.

.

epaaOelaa

^dcovo^;
Ni;/i^i9

ri^ Ik

7)v

avTrj eTaipa Ka\i]

Se

6)(et

t6 tov

lepov Kal to dXfia to tov<;

iraveLv ireirLaTeviievov,

7rp(OT7] Xa7r(p(Ji),' oj? (fyi^acv o

Tov v7repKO/jL7rov

'

Ov

Stj

XeyeTaL

yievavSpo^;,

Oqpwaa ^dcov

olaTpcovTL 7r60cp plyjraL 7reTpa<i
drro Ti]\e(f)avov<;'
(j6v, heCTTrOT

Te/ievo^ 7Tepl
6

/JLev

dWd

KaT

ev)(y]v

dva^, €V(f)1]/jL6i(T0(O
AevKdho^; aKTTJ^;.^

ovv ^levavBpo^ 7Tp(OTr]v d\ea6aL \eyeL Tr]v
oi

'Ea7r(f)(o,

5'

(ip)(^aLo\oyLK(OT€poL

ert

\e(f)av

epaaOevTa UTepeXa tov Ai]iov6(o<;. r]v he
Kal TrdTpLov tol^ AevKaSiOL^; KaT eviavTov ev tjj
6vai(i Tov AttoWcovo^; d^ro Tr]<^ aK07T7]<; 'pL7TTela6aL

(f)aaLV

^

atVta/? ovtcov d^TOTporrrj^ ^dptv,
^
i^a7TTop,evct)v e^ avrov 7TavToSa7T(ov 7tt6P(ot6)v
Kal 6pve(ov dvaKov(f)i^€iv Svva/xevcov tJ} TTTi^aei to

TLva

t6)V

ev

KdTco /jLLKpaL<; d\idaL
KVK\(p 7T6pi6aT6)Ta<; 7ToWov^ KOi 7r6pLa(i)^eiv €i<;
Bvva/jLiv t6)v opcDV e^co t6v dva\r](f)6evTa.

d\pa,

v7Tohe)(ea6aL

Se

Phaoii cum esset naviServ. V^erjr. Aen. 3. 279
continentem proximos
Lesbo
in
cularius solitus a

^'enerem mutatam
quapropter ab ea
in anuis formam gratis transvexit.
donatus unguenti alabastro, cum se indies inditum

quosque mercede transvehere

^

i!^o

Kaib. -E: inss

ttjs

eTai>as SaT^Ji;

'

Wil.

f^u/ncpodwpos

greater antiquaries thaii he assign it to Cephalus son of Deioneus.ss : Aei. the courtesan of Eresus. Hesycli.LIFE OF SAPPHO Archedice of Naucratis. It was an old custom of the Leucadians. as an apotropaic or averting rite. leapt from But now in accordance with mv the far-seen rock. who was a beautiful courAnd according to Xymphis in his tesan. one day ferried over for nothing the Goddess Venus in the guise of an old woman.\-a5oj . . a large crowd waiting below in sinall boats to ])ick him up and if [)OSsible carry liiin off to safety beyond the frontier. who was a naniesake of the otlier Sappho and lover of the fair Phaon. . ' in wild love-chase of the proud Phaon. and from it is the leap which is sup{)osed to cure love. . and received from her for the service an alabaster box of unjruent •»' : man ^ ' last aov . great Lord. by reason of tlie Cliff Leucadian. Where Sappho first/ to quote Menander. to throw from the cliff some guilty person to wliom they had previously fastened all sorts of birds and other winged creatures which by their fluttering might break his fall. won great notoriety. every vear at the sacriHce to Apollo. : is ' Servius on the Aeneid Phaon. vow shall tliy ])recinct be })raised. 2a7r0a' lineaml a half ailded by Bentley from Hesycli. Strabo Geograp/n/ [the Leucadian Cliff] This rock surmounted by the temple of Apollo Leucates. * E mss KTeowv (Tr]v m. !'()j/age around Asia. Mil.' ^ Though Menander tluis i>ives priority to Sa])pho. who was a ferryplying for hire between Lesbos and the mainland. cf.

OpchaKLvai^^ Oelaav ti]v WcppoBiTrjv ev avTOV uTTOKpv^^aL. aWa <dW^jv> Aea/Siav Ka\ diroTvyy^dvovaav pl^ai eavTrjV aTTo tt]<. : — KCOpLCphLOTTOLO^ 12. Palaeph. 707 'vvho appends a nuirdered slightl}' (hfiferent version derived from Epif. de eo monte iaciantur se quotannis solent qui in pelagus. cum potiri eius uiigeret_. Ath.^ <^d(ov UTrap^e^? ro) KdXkei koI Tp67iW'> (paalv eirl to)v epaafiiwv Kat vTrepr]Tov <yap ^dcovo^ epao-dijvai (paat avv (^dvcDV. 6 AL(pL###BOT_TEXT###<. ov TTjV TTOiyJTpiav. Wapava^ 8' 6 vecoTepo<i ev ' X^or) KpiOcov. AevKdSo<.. . Ov. epaaAtli. Suid. 69 d Ka\aL<. ' ' . 2. 15. (p7]aLv Kal ydp 13. : — — .FT. TToXXot? Kal SaTT^co. /jloix^^'-^^ V. 10. in quis una quae de monte Leucate. Trer/ja?. fuit unde nunc auctorare nequiret^ abiecisse se dicitur. LYRA GRAECA feminas in suum amorem traliebat.: "E^tTTTro? ev ^aircpol. basis of the plot of the Phaov of the come<]y-\vriter 2 Aelian add. '^dcov TO) K/3aTa'09 ^e (pyjat ^dcovof.'yi/] aXovs 1 prob. ev Tiyu-o/cX?}? S' Kal c 339 8. . . 7T€7TOL7]K€V 18 adds ra ye fxi]v €V rfXfvraia ZaTT^j^ol aiT^n<pa. ^ ev Se Sa7r<poL 6 Avt L(j>dvr)<. . 572 c ypL(f)ov<. 51 Nunc veniunt nova praeda puellae tibi Sicelides cum Lesbo quid mihi ? Sicelis esse volo. Incred.s Finally he Avas taken in adulter}' and Plato " froin Apostolius Par. Ep. 599 d (pi^aLV 1a7r(f)0L . 450 e 7Tpo(3dWovaav TTOLel Troc^Tpiav Tr]V avTTjV . 2. 13. . . ^ Ael.

Paroem. Jd. 80. win him threw herself from tlie Leucadian Cliff. X. 5. 2. . 3. 9. I to do with Lesbos ? Athenaeus Doctors at Dinncr Antiphanes in liis Sappho makes tlie poetess propound riddles To quote the Sappho of E])hipj)us Compare Timocles' Sappho Diphiius^ the to the : . • Ovid Lcttcrs of thc Ilcroincs [Sappho to Phaon] Tlie maidens of Sicily are now thy prey wliat liave I am fain to be a Sicilian. 21. Stat. They sav that this Pliaon was beloved bv manv women. 22. 92. 0. Alciphr.H. tliis is the V.). Aus. amono. who : : in looks failini:: to . 1246 ' . . Mit. in whose honour as her lover man}' a song lias been written by Sappho'. Ov. Silv. Phot. — . Phot. Ep. 1.^ in her disappointment is said to have thrown herself from Mount Leucates. : . and from this came the custom now in vocrue of hiring peo])le once a vear to throw tliemselves from that place into the sea. . 15. Le. Mort. 6. Ep. Plaut.^ Phaon <^You are a Phaon both Suidas Lcxicon and deeds]>.s at Dinncr Accordinn^ to CraAphrodite when beloved by Phaon concealed : tinus^ among liim the ' fair wild-lettuces ' .r. 17. . Athenaeus Doctor. Luc. 155 (substitutes Calchis (sic) for Leucas). ' n. Apost. 18. 175f (confuses the two Sapphos"). . Bihl. AevKdr-ns. but accordinf»' younger Marsyas the hiding-place was among the growing barley.^ this proverb is used of those wlio are lovely and disdainful.— ' LIFE OF SAPPHO the daily use of Avhich inade womeii fall in love Amono. 3. 153 (Hst of Leucadian CHff leapers without mention of S. . '1 (substitutes Chios for Lesbos). 49 with the inconsistent additioii. cf. — . ^dxv. those vvho did so was one vvho ^vitli him. . Ara. . 34. them Sapjiho^ not the poetess but another Lesbian. . PHn.

r) fxev yvvaLKwv. 15. tl av ehf r) 7] XcoKpaTOv^^ Te~)(yi] ipwTLK)] . (j)L\iav. OTL yap eKeivco A\KL^Ldhri<^ Kal Xa/Oyu-tS?.seen that the ancient testimony for connecting tlie poetess with the Lencadian Clitf and with Phaon is conflictting tliere were niany White Rocks. Ep. which if it was niore ihan a threat or a .01 Tr)v Ta^i'. 89. 15 Nec me nec Pyrrliiades Metliymniadesve puellae cetera turba iuvant me Lesbiadum Anactorie. Bek. but see L. An. KvSv6s Hnd. multarum quod fuit^ unus habes.). 154 .ct)v epdv eXeyov Kal vtto irdvTcov dXiaKeaOaL Tcov KaXcov. 7 it uill be . ^ 11. Kal ydp 7roX\. some mss non ^ cf. aKTopia' Kal oTLTrep SojKpdTei ol dvTLTe)(V0L Up6SLK0<s Kal Vopyia^ Kal Spaav/Lta^o? Kal UpcoTayopa^. & . Kal A. he dppevcov eTrLTi)hevaaL. quas hic^ sine crimine amavi improbe. . S. 487 a mss ^ also Ci/dno. LYRA GRAECA BpdfiaTL 'Ea7T(f}ov<.. KaTa tuvto eKUTepo^. ec tol TTpeafSvTepa rot? z^eot? eLKciaai. Ov. p.. vvv Se eXey^^^eL Kal eipcoveveTaL avTa eKelva tcl ^ ZiCOKpaTOV^.? Kal ^alBpo^^. tovto ttj ^airc^ol Vopyco Kal ^AvBpo/jLeSa' vvv fiev eTTLTLfia TavTaL<. epaara^ 'A/3^tXo^oj^ Kal XPV aWo 24 (lc>) 6 r?}? Aecr/Sta? (epcof. vilis milii candida Cydro. hoKOvai ydp /J. Poll. atque aliae centum. and hev leap. vilis non ^ cf..^ oculis grata est Atthis ut ante meis. tovto tj} Aea/3ia Vvptvva Kal "At6l<. iTTTrcovaKTa} Max.

Jason and Hera Ap. ! is now thine alone. Tyr. rival Ovid of Ihe Heroines [Sapplio to Phaon] no pleasure in the maids of Pyrrha or Methymna nor in any of the daughters of Lesbos Anactoria is a paltry jade. was apparently transferred to Leucates from one of the second Sappho is prob. or in a hundred others whom 1 have loved here so innocently. below). Gorgias. 18. and what his to anotlier_. They both appear to me to have practised the same sort of friendship. OS) <>r not without evil imputation .] "Hpj^.: LIFE OF SAPFHO writer of comedies. 2 p. and so is the fair Cydro my eyes see no beauty now in Atthis.^iii. metaphor. and Anactoria were to her. . who sometimes takes them to task and at others refutes them and dissembles with them exactly like Socrates. Gj^rinna. a late invention inthese tended to reconcile ihe testimony of S.f {. that Gorgo and Andromeda were to Sappho. Prodicus.'s own works with the dramatic adaptations of tiie popidar tradition to the myth of Piiaon and the (Joddess (cf.^ Atthis.-^ Bokl man wliat once belonged to manv I Lellers take .^a^ Eust. //. Cliarmides. Max. both declaring that their beloved were many in number and that they were captivated by all benutiful persons. can hardly have beeu fatal (cf. iii his play Sappho has made the poetess beloved by Archilochus and Hipjwnax. 247 Riiod. What Alcibiades.^ Maximus of Tyre fair Lesbian^ if it The love of the to argue from one at^re Diaseriations is riglit : was surely the same as tlie art of love pursued by Socrates. he of maleSj she of females. craftsmen. 2 ^. 3. and Phaedrus were to liim. Thrasymachus and Protagoras were to Socrates. =» .

21 . hir/ei /cal KaXeaa<i tov d^dpLV '"Wpov yLte e^if 7rpcoi]v.LYRA GRAECA Philostr.^ Od.' Ka\eiTaL Toivvv ?. Kal ovk€t ijpov pe irepl Tov 6v6/iaTO<. 13. co '^prjare. . yaTaL. Vit.eOa. avTa.' to Be Ila/Ji(f)vXcov Ovk. elirov (iXX ovopa ovK ei7ra9. arbos . avTrj Trap^hrjTaL Kal KOL citto "ApTepLv Tr]V e'9 ' ' ' ' TCt)v ^a7r(f)(pcov Hor. ^acikel '^(api^eaOaL /j. e^r]yovp7]r aoL tou9 v6/iov<. . ao(f)rj avTr) tov ^aiT(^ov<. .] [llle et nefasto te : paene furvae regna Proserpinae et iudicantem vidimus Aeacum sedesque discriptas ]iiorum et Acoliis fidibus querentem Sappho puellis de popularibus et te sonantem plenius aureo. aWco peTCL TavTa €y€v6p..i]aaL T[api(f)v\(p yvvaiKi f) hi] SaTT^ot ' XeyeraL /cal tol/? vpivov<^ 01)9 €9 Ti]v"ApT€piv Tr]V Ylepyalav ciZovaL avvOelvaL tov AloXecov Te Kal 'Hp6pr]v e<pi]. . Quam . 2. 30 XcovLO^. Kal \eyeTaL iTap6evov<.) yap ela-pei fxev Srj (o 'AttoX- (povTO Kal tc5 rovrl TrXeiovcov viro 7rapa7r€/jL7r6jji€V0<. t€ o/iiXr/Tpia^ KTi/aaaOaL TTOii/paTci t€ tci tol avvdelvaL tcl /lev epcoTLKci. Alcaee^ plectro •56 . Tp^rrov Aa/iO(f)v\r]. posuit . 1. Ta /SacriX^ta ov y^aipoi a(pty/ji€V(p' Silcov 5e e? ct)? Sie^Xe^jrev coaTrep ovhev e? oSoiTropcov rw^' dW Oav/jia^o/jLevcov. die .a66vT€<.iTpo<.. TpoiTov. Ta Se vpvov<. Ap. tcov v/ivov Kal tcl 6v6/jLaTa Kal ottt] Ta Aio\ecov e'9 to aKpoTaTov re Kal To iB(ov Tlap(f)v\cov Trapi]\a^€. otl ovo/ia rjv Trj re 6/j.

and you did not repeat your original request. chanting with fuller note and quill of gold . and to have composed love-poems and hymns just as she did.] holding the realm of gloomy Proserpine with Aeacus planting. . my friend. and she is said to have had girl-companions like Sappho. \Ve then turned to something else. Horace Odes [111-omened was the day of your How near was I to begood tree . and how she changed tiie Aeolian peculiarities into her own noble Pamphylian. Alcaeus. deriving ultimately from Sapj)hic originals. and thee. Well. the philosopher paid no attention whatever wonders of the house. how near to seeing the abodesassigned the holy dead. called Damis to him and said ' You asked me the other day the nanie of the fair Pamphylian who is said to have been associated with Sappho and to have composed the hymns they sing to Artemis of Perga in ^ So I did/ he the Aeolian and Pamphylian modes. . As he passed in : loniiis however.' So.' to the : ^ ' . accompanied by a niimber of peo})le who. .' replied but received no answer. thought that this would gratifv the king. with Sappho singing elegies to the Aeolian string upon the girls of her city. : holdingcourt. but walking by them as though he were travelling on the high road.. this clever woman's name was Damophyla. knowing that he had been pleased to hear of his arrival in Babylon_. .LIFE OF SAPPHO Philostratus Life of Apollonius of Tijana So Apol entered the king's palace. 57 . The hymns to Artemis are her adaptations of her teacher's work. but you received an account of the tunes of the hymns and the names they are known by.

desinite ad citharas turba venire meas. Kal irov av ^eXTLco — . /cal XiOi ''O/jLrjpov /3Xd(T(f)i]/jLov ovK ovTa ovra iroXiTr/v. . Kal ^lvTtXr/vaiOL Sa7r0w KaiiTep 'yvvalKa ovaav. 'Zaircpco 14 WvTtTrdTpov ^iBcoviov ^Ivt iXr/vaiav tt/v XvpiKijv Pal. Trai^re? tov<^ crocj^ov^ ri/jLMaiv' TldpLOL yovv Xp-)(i\oxov Kaiirep ^ T€Ti/jL7]Kao-i. . edv aoi ')(apil^o/ievo<^ avyx^^P^' *J^AL TfVe9 ovtol . TOL KevOeis. 201 Lesbides. Phacdr. Anth. OvaTav ^lovaav detSo/Levav. infamem quae me fecistis amore.LYRA GRAECA Ov.V7TpL<. 9. tclv eh /leTa ^\ovaaL<^ d6avdTai<. TTW? ovK eKXcoaaaOe 7ravd(f)0iTOV i//iap doiZw dcf)6iTa /jL->]aa/ieva Ewp' EXiKcovLdBcjv . Kal "Kpa)<. Ep. t'i]v ^aircpco 7. Poll. irepl avTwv elpy^KOTe^ Kal oio<^ T yeypa^oTe^ e^eXey^ovaL pe. ToOro e^yco aoi ovKeTi eao/iai TriOeaOai' iraXaiol ydp Kal aocftoi dvSpe<s Te Kal yvvaLKe^. oj TpieXiKTOV 'FiXXdSi /xkv Tepyjnv. Plat. 1398 b Arist. 235 b ^O. av K. "xOcov AloXi. aoL de /cXeo?. 84 ^\vTiKr/valoi ^aiT^^io t(o vo/iia/iaTi ivexapci^avTO. avvd/i CTpacpov. 15. Rh. a? /leTa Uei0^ ^ e-TrXefc dei^wov UiepiScjv aTecf^avov. Kai KaKehai/iovioi ^iXcova tcov yepovTcov eTTOir/aav i/KiaTa (piXoXoyoL 6vTe<^ . yiolpai hivevaai vr//ia KaT yXaKaTa<i.

85 ^ stili . .c. a glory unto thee. 9 below 12. the Chians Homer though he was not of their city. he does not say ' an where she niay ei'il wonian ' * cf. whose sayings or writings will refute me if I allow you to persuade me of it. Tyr. he seen. who have no love for learning. Max. 18. is Sappho/ one that is sung for a mortal Muse among Muses immortal^ one that was reared by Cypris and by Eros too^ one that helped Persuasion weave the everlastinff ijarland of the Pierian Maids. .— LIFE OF SAPPHO Ovid Lefters of thc Heroines [Sappho to Phaon] Daughters of Lesbos. Aristid. •* . focabulary The tlieir coinage.) evidently believed that S. wliose love has made me of ill-report^ throng ye no more to hear my lyre. : The wise are Iionoured Parians have honoured Archilochus despite his slanderous tongue. 120 b. and the Mytilenaeans Sappho for all she was a woman ^ while the Spartans. h. O ye Fates that twirl the three-ply thread from the distaff. both men and that.senate Aristotle universally. Uhetoric : .^ Pollux : Mytilenaeans engraved Sappho on Anihology Antipater of Sidon on Sappho poetess of Mytilene That wliich thou coverest. Aeolian soil. as also on that of Eresus in botli cases the coins are of Imperial times Antipater (c. . a delight unto Greece.' Piilaline : the lyric : Plato Phaedrus Socrates I cannot go so far with Tiiere are wise ancients. The . . wiiy span ye not a never-dying day for the songstress who devised the deathless gifts of the Daughters of Helicon. Phaedrus VVho may these be r and where have they given you : : you as : ^ 11. elected Chilon of their . died in Lesbos cf. '59 . women.

NOi^ fjuev eiTrecv' BrjXov 8e otl tlvmv aK.> (id loc. . T^y ao(f)La<. . T?}? TrpoaLpeae(i)<^ fiiKpd Te Kal ydp dXXo . oaov ek aojfia etSex^eo-T^VT. patriae fusca colore suae et variis albae iunguntur saepe columbae. hevTepov Be Kal TpiTov irapdSeLyfxa (r)eav(o Te eKeivii Kal rj Aea^ia /jLeXoiroio^. Ep. Luc. ?) Xa7T(p(o Be to eiKova]' yXa<pvp6v Sch. Tyr. —^O. si sim tibi corpore parva mensuramque brevis nominis ipsa feram Si : sum ^ nomen quod terras impleat omnes mensuram nominis ipsa fero. 30 [ille vehit fidis arcana credebat libris] Aristoxeni sententia sodalibus olim i6o : | . </. opcofiev)]. ingenio formae damna rependo meae nec me despicias. 2^ ovTco (18). 1. brevis. Trjv ypa<pi]v.r)Koa. 7 yap avTrjv Sia Trjv copav tcov . KaiToi fjLiKpav ovaav Kai [leXaivav. . Imag.. at est mihi candida si non sum. rj /Jiev to fieyaXovovv rj f)eav(o avfjil3aXXofievr} ei<. . et niger a viridi turtur amatur ave. 31 mihi difficilis formam natura negavit. KaXi]^ — ovofJLa^wv j^^aipei (o XcL>KpaTr)<^) fjieXoiV. Sat. 2. . Tx}? KaXr]<^ WvaKpeovro^ rj rov ovk ouTCt)? ?'. Porph. 15. drfhoov r) afiLKpw T(p aoofiaTL fieXaiva dfi6p(j)oi<. Max. Kal avveo-e(o<. LYRA GRAECA Tovrcdv aKTjKoa^ . . 'Ea7r(f)(i). placuit Cepheia Perseo Andromede. TOt? kol tl TTTtXot? eTTt irepieLXrffievrj. Kai ALOTLfia eVl TauTtti?. Hor. ^'^(^(o irov ^aiT^ov<^ aocpov ^) Kal (Tvyypaipecov tivmv. XaTr(f)0v^ Tri<. 18 [tt. Ov.

. Lucian Portraiis [on an ideal picture of Wit and For a second and third model (after Aspasia) we might take Tiieano and the Lesbian lyrist. or from the wise Anacreon_. being small and dark^ Hke a nightingale with ill-shapen wings enfolding a tiny body. Theano contributing to our picture greatness of mind and Sappho refine- Wisdom] ment of : cliaracter . If I am not fair. Little I am indeed. I. M . : . although she was small and dark. remember that white doves mate with pied^ dark turtle-doves with green. and 'tis by the measure of that I go. Scholiast on the passage Physically Sapplio was very ill-favoured. who his : * rass /ero i6i VOL. : Porphyrio on Horace [LuciUus used to confide secrets to liis books as though to a faithful comrade] This idea comes from Aristoxenus. Maximus of Tyre the beautiful Sappho. Ovid If . . . : . for beauty of her lyric verse. or some writer of history. remember that Cepheian Andromeda found favour with Perseus^ dark though she was with the hue of her birthplace.— : LIFE OF SAPPHO better information in this matter ? Socrates I cannot say off-hand biit I have certainly got it from one of them. but I have a name which fills the world. from the beautiful Sappho perhaps. and for a fourth Diotima. . so Socrates rejoices to call her because of tlie Letters of the Heroines [Sappho to Phaon] crabbed Nature has denied me beauty. I make up for the hick of it with wit nor should you despise me for one that hath both small stature and Uttle fame.

(pacriv Tive<. ttotX rj BeKdTTj. T)]v ^Epeacp \lovaav ev Aio\i6L.^ ALoaKOpiSov et? ^aTTcpo) Trjv Xtjvaiav. Kal ^T/jirjv 'T/jievai0<.evijv' HhiaTov (pL\eovaL veoL<. lOl.' co? oXtyoopco'. OepL<^ ev p. S' pL Ibid. 407 otl p. 24 6t6 Anth. Il\dTCDvo<. tt]V ev t?} MuTi- \vpLKfi iroLr)aei Oav pa^o p. Pal. rjviSe ^e2v\ 506 9.' Kal Xaircpo) AeafioOev Ibid. partcp. eiiTCiiV^ ct)? ^lovaaLai (ptXa t rjv d re AoKpl<. Max. i] pd ae Hiepir] ' 7/ r) E\lkcov evKLaao<. Tyr. Td<. '^fl dTreOvrjdKev. 6t? ^aTT^co* Wovaa<. ^oaaiSa' KaWi^^opov Miri- Xcivav Tav ^aTTcf^ovg ^(^apiTcov alOo. 7.0L Tovvo/ia Nocro-i?. E E * Mein ^ ^ ^ mss oTt niss eiTre?»' ni?s OV0OS niss (plXa {(piXai') rriyaire x6Kpi(Tcra tikthv (TiKTep.: LYRA GRAECA ille enim in suis scriptis ostendit Sapphonem et Alcaeum volumina sua loco sodalium habuisse. dppi Tjj r] he irpeTTei TdSe.^ %a7T(f)co. 6t? : el <ye rrXel'. " evavaafievav. ttjv /leXoTTOLov. : . est . al. Koa/jiel. 9 ohvpoiievr) 'B^avOiTTTrr] 718 Tv '^ocraiSo^.oiaoiroKw olKia '^jdp Oprjvov Oefiev ovk Evvea ^ OvyaTpi' 'Sa7r(f)co Tfi ov avaiOeTai (o ^wKpdrr}^^ (18). 7rpoaavciK\Lp! epcoTCOv. tikt tfi) ' Xaais 2ncl person sing. 7. 14. yd TiKTe ^

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aaL<. 34 E. • Sahn 162 : mss : irphs avaKKiv' ip. e-^cov cvcf^ey^yea iTevKr/v avv aoL vv/i(f)Lhicov 'iaTaO^ viTep Oa\d/i(ov. avv ^lovaaL<.

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aa irveiovaav €K€ivaL<. as Theocr.

thou Muse 6f Aeolian Eresus Hymen God of Weddings hatli tliee with hhw when he standetii bright torcli in hand over bridal beds. . A.' LIFE OF SAPPHO points made writings that comrades of their books. oiit in his Sappho ^ and Alcaeus Maxinnis of Tyre Disscrialions Socrates chides Xanthippe for weeping when he is about to die.F. 184 6. the cit}'' of fair dances which kindled the fierce fiame of Sapphos kjveHnesses.' - Palaline Jnihologi/ Plato on Sapjiho Some say there are nine Muses but they sliould stop to Look at Sappho of Lesbos slie makes a think. and so : : it ill-beseemeth this. tenth. and a daugliter of Locris^ and that you : for know my name The Same is Nossis. the name of her book ? cf. the wonder of lyric poetry Sweetest of all love-pillows unto thc burning young. 132 ' : •» 163 M 2 .P. along with the Muses. the lyric })oetess.* Dioscorides on Sapplio of Mytilene. * this httle poeni is printed * Acro says Anacreoii here because it proves with its context that S. : : .' at honie for her age at death cf. The Same Nossis on herself: If you are bound Mytilene. seeing that thy spirit or that is their spirit. Sappho. stranger. died quiclly ' or 'Graces. sure am I that Pieria or ivied Helicon must lionour thee.^ go not away till you have tokl tliem that I was dear to the Muses. : : . 42 see also J. 9.fr. and so does Sappho chide her daughter ' No house that serveth the Muses liath rooni for grief.

vfivoOeTav crTe(f)avov . 571 WSeaTTOTOv et? tov<.LPupeQ) veov epvo^ ohvpoiievr] Wcf^poBiTr) (TvvOprjvo^ fjLaKapcov lepov d\ao<. Ibid. fii] SeKciTav ^lovaav ey^ovaL /3p0T0L. ^leXedypov aTe(j)avo<. KOL ^air^ov<..* Reiske-Tyrwhitt : mss Qeois yap iVas aoiSas ^ Jjeck : .' TuvSe (f)€p6L<. j^aLCL fiev AvTLTrdTpov eL<. Tt]v avTi-jV vnepeay^ov doihav Ovvofjbd fiev Sa7T(f)(t)' Toaaov OrjXeLav. 9. LYRA GRAECA rj K. Trdy/capTrov doLSav Kal T€v^a<. 6t eKXve ra? fjLeXL(f)(jovov ^a7r(f)0v^. laa' (xa? adavaTwv dyofiev Anth. 4. Kvvea Avpi- KOv<.' eirvee TepiTvd 7)Bvfie\eL (f)d6yycp fiovaa ^LfMCovlSea)' \dfnTe^ XTr]aLXop6<.^ 8' ^AvTLTrdTpov StScovLov eh ^a7r(f)U) Ti]v lS>lvTi]vaLav eyKcopLLaaTiKov }A. . MoOcra 1] (f)LXa. %<xi/96 OeoL<. Te Kal "lpvKO<. 9.' A\Kfiav \apd 8' aTTO r]V y\vKv<. 7.' "E^Xayev eK S)]i3mv fieya ULvoapo^.va/jLoavvav eXe 0dfi/3o<. tlvl Tt? dvvae /JLev ^ vvv eTL OvyaTepa^. 66 Ibid. dXXd poSa . ^ MoiyDoO? Xeipia. ^ * 164 aTOfidTcov (f)0ey^aTO haK)(y\ihr]f. ^leXeaypo'. ttoWcl AvvTr]<.. ejJLTrXe^a^. Pal. dvSpcov oaaov 6 Matoi^tSa?. iTOTVia.. 15 Kpiva. dpL^dX(p Se ALO/cXel fjLva/jLoavvov TToWa 1 ^ yap aoiSa? fiev TavTav e^eiroviiae 'X^dpiv. Ibid. Se . opfj^' TrdvTt].

. : The Same : Antipater of Sidon^ encomium on Memory was astonished when she heard the honey-voiced Sappho. The Same Antipater on Sappho My name is Sappho^ and my song surpasses the songs of women even as Homer's the songs of men. . . dear Muse. stone 16:. Inwoven liere is many a lily of Anyte's. I bid thee all hail^ Great Lady. : Sappho of Mytilene : The Same Anonymous on the Nine Lyric Poets Pindar of Thebes clanged amain the Muse of Simonidcs breathed a joy of dehcious-noted sound Stesichorus and Ibycus rang clear. even as any God for we still hold thy songs to be daughtcrs of an Immortal. bring you this song so rich in fruit ? and who is tlie fashioner of this your garland : the work of Meleager. . and he hath made it to be a keepsake for the admired Dioclcs. . Ho\vsoe'er it be. ^ poem granis. wondering whether mankind possessed a tenth Muse.' iiitroductory to in Mhich each M. Palatinc AntJiologii The Garland of Meleager:^ To Avhom.^ .LIFE OF SAPPHO or Aphrodite with her wJieu slie bewails the fair youn(T offspring of Cinyras in tlie sacred grove of the Blest. . Alcman Avas sweet and the lij^s of Bacchylides uttered pleasant : : .'s collection of Greck are likened poefs works ' Epia to llower ' mss mss aQavaTas exoMef * mss \d/xirei •wv -ci>v aoihav {-wv) OrjXeiav {-uv). many a white lily of Moero'Sj and of the flowers of Sappho few^ but roses of minstrcls It is .

)^et * mss i66 rL<^ earai XvpLKf]<. 16 Sappliica puella Musa Hor. iTTvKrelov c..LYRA GRAECA Uei6cb ^XvaKpeiovTL avveaireTO' iroLKika 8' ifv^a ^ ^A. Or. dv6o<. . 9. 11 spirat adhuc amor vivuntque commissi calores Aeoliae iidibus puellae. P^th. 35. aXX' epar€Lval<^ iv jMoucrai? SeKdrj] yioucra Karaypd<f)eraL. rjeXio^. 19. Cat. Aavpea TfXXtoL' ^a7r(poi)' et? rrjv avr/jv' AloXlkov rrapa rv/jL^ov lcvv. yvcoaeaL rrjf.\Kalo<^ TTVKvfj Aecr/3^09 AloXlSl. Ihid. ov8e Plut. 0(1. Ep. 17 Jlivvrov eh 16 Kal kccx^ov al Se (70(pal Musam pede mascula Sappho. \aiT(f)ov<i vcovv/io<. Keivi]'^ p/jcrLe'^ dOdvaroL.^ elrrev. ovvofia SaTr^^oi)?* e. Id. g: or irrvKTw KVKV03 {KVKVtf) A. ^eve. GtoA»5t. e/oya Be (pcorcov €9 raxii^h^ eppei roidSe \ii6eh6va' Y]v he jJie ^lovadcov irdaij^i ^dpLv.^et rd(po<. AtoAtcriJ' mss au5a "^ ' ? : . E ' oai]v %«/?ii' Kal Kara- book ' cf. 1. (ov d(f)^ eKaarr]<i Sai/JiOvo<. Pal. fo)9 i/jifj 6qKa irap ivredSL. KVKVOS A. rd ^aTT^pLKa /leXi] Ki]Xovvra 6eXyovra rov<i dKpoco/ievov<. ^Oarea fJLev 7. doctior. 28 Temj^^erat Archiloclii Anth.' e. AiSeo) aKorov eK(f)vyov. 6 ' ovx 6pa<.. fi/} /xe Oavovaav rdv ^lvrLXifvaiav evverr doLhoiroKov rovhe ydp dvOpcoTTcov eKa/jiov ^€/369.^- avhpSiv 8' ovK evdrri ^air^^co TreXev. 4.

When Tullius Laureas on the same Tlie Same Aeolian grave. built by the hands of men. .' LIFE OF SAPPHO Anacreon was attended by Persuasion and Lesbian Alcaeus spake varied notes unto the wise Aeolian danie.1- nine 'Books' 167 . Horace Still breathes the love. call the pass my stranger. . Plutarch Pijthian Oracles ' Do you not see/ he asked. . : . ' what a charm the songs of Sappho have to enchant and bewitch the listener ? : ^ or in his Aeolian book ? 2 1^(^. still lives the flame. Catulhis thou maiden more cultured than the Sapphic Muse. This Palatijie Anthologij Pinytus on Sappho tomb hath the bones and the dumb nanie of Sappho. and no sun shall ever be that keepeth not the name of the lyrist Sappho. which the Aeolian maid confided to her : .^ But Sappho was not nintli among the men rather is she written tenth in the Ust of the lovely Muses. . things . . . not vou For 'tis true this was songstress of Mytilene dead. and such works of human: : kind sink swiftly into obHvion yet if you ask after me for the sake of the lioly Muses from each of whom I have takcn a flower for my posy of nine/^ you shall know tliat I have escaped tlie darkness of Death. The Same : The virile Sappho shapes her Muse with the metre of Archilochus. strings. . : : but her wise utterances are immortal.

iibi eduliis et poculis mox sermonibusque tempus fuit. puellaeque sunt^ iucundum in modum 'AvaKpeovTaa pleraque et Sapphica et poetarum quoque recentium cAeyeta quaedam erotica dulcia et venusta cecinerunt. 1. 2. fj to Trpiv e^i]TeLTO TTapd '^oaaico.. irapd dKpod/jLaai Tov [ticjl helirvov]'' /jid\i(7Ta ydp rjfiel^. scitissimos utriusque sexus qui canerent voce Ac posteaquam introducti pueri et qui psallerent. dep/jLOTtjTa ' yiovaai<^ ev(f)covoi<i Iw/ievi/ tov epcoTa^ KaTa ^iXo^evov.' OTe Kal '^a7T(f)ov<. 'X^prjaTeov €(t/jl€V ol hvay^epdvavT€^ ev Pco/iT} Kal KaOayjrd/ievoi tmv d^iovvTcov YlXdTCova Siaycoyjjv ev ol'v(p TTOteladac Kal tcov YLXdTcovo^. ^ /lol Sokco d^iov he Za7r(f)0V(.. BcaXoycov eVl Tpay7]/j.aaL Kal /xvpoi^ aKoveiv SiaTrivovTa^. Symp. ^aiTcfnKcbv tivojv claOev"E/3Cl)9 TCOV . ^ i68 Wyttenbach : mss droSex- . eicrayo/ievou Kal tcov WvaKpeovTo^ eyd) KaTadecydai to TroTt/piov alhov/xevo^. /ievri<. 5.' avTi/ 8' dXi-jOoi^ /le/ieiy/ieva Trvpl cfideyyeTai Kal hid twv pbeXoiv dva(f)ep€i ti/v diro t?}9 Kaphia'. Id. 18 ^lovaai^ /xvrj/jLovevcrai' tov /lev ydp 'H^atcrTOU iTalha 'Vw/ialoi Ka/cor laTopovat irvp Kal (pXoya^ dcpLevai Sid tov aTo/JLaTO<=. Gell. Amat. finis desideravit exhiberi quos liabere eum adulescentem sciebat. 19. 7. Syinp. irapd Ta?9 Id.LYRA GRAECA Plut. dvaXeyoirpoiTOi 7rpay/iaT0<. 1 Ila)? e^ipy-jTai to ' 7roiT]T7]v 8' dpa ' hihdaKei KCLV d/iovao<. 3 Is (Antonius Julianus). e^co peovaa<. 8.

The Same Amatorius Sappho fully deserves to be counted amon<i. Love makes a poet of The Same Dinner-Tahlc Prohlems Sossius's^ after the singing of a discussion arose of the line : ' the veriest boor. The Romans tell how Cacus son of \ ulcan sent forth fire and flames from and Sappho utters words really mingled his mouth with firc. even Avhen they recite us Sappho or Anacreon tlie first to fali foul I feel I of the my must put down cup for very shame. liis dialogues as things after-dinner diversion and to be listened to over the wine and tlie dessert.' Auhis Gellius Atdc Nig/its Whcn the cliief courses were disposed of and the timc was come for wine and conversation.the Muses. ^ see /r. thus Miealing' in the words of Philoxenus the pain of love with the melodies of the Muse.LIFE OF SAPPHO Plutarcli best sort of Dinner-Tablc Prohlcms [oii wliat is the entertainment during dinner] \Ve were : new fashion when it came and to deprecate the use of Phito as an to Rome. Antonius expressed a wish that we might be favoured witli a performance by the first-rate singers and players of both sexes wiioni lie knew our young friend to have at command. ' One day at some songs of Sappho's. In due time the young musicians were summoned. 2 169 .' ^ : . Whv:. and proceeded to give deUghtful renderings not only of a number of thc songs of Anacreon and Sappho but also of some charming erotic elegies. as thcy are : called^ of modern composers. and gives vent through her song to the heat that consumes her heart.

yap ovhe avTal irepl Kara ao(pLav ehoKovv. Conrl. OvyciTTjp Seavco' rd^^a S' ovSe UepLKXrj^. tam elegans. prope ut concedendiim atque ignoscendum esse videatur. dvOcoTrXia/ievt] dpiO/jLelTat yvvaiKwv Sl "A/?/. tam elaboratum. 2. Ka\ ydp av kol Tohe viro 3G Tcov yvvaLKcov aTTOvSd^eTaL.? '^a7T(pov^ d^roheovra. ^vv6vTa<^ Kal tl Kal tovto tcov Tft) (f)opeL(p e7ro/jL€vov<. 57 prytaneo est. oi ^apLKXeif. to eivai Tiva^ avTaL<. pLLaOov v7T0TeXel<=. quam homo elegantissimus atque atque haec Sappho suberuditissimus ^"erres ? sui reHquerit. to . Silanionis opus tam perfectum.LYRA GRAECA ei yvvai^iv eKKX^jcrla fcal hiKaLuc. Nam SappliOj quae sublata de Cic. 7re7raiSev/ievov<.. r/v Xeyr/raL &)9 7re7TaiBeu/jievaL re etaL KaL (f)iXoao(f)Ot KaL ttolovaiv da/JLara ov ttoXv tT. Syracuse in the Parian Chronicle . ^ 170 this.?* i)v ev ov)(l ^ Id. . aTpaT7]yo<i av i] 7rpoaTaTi]<^ eKeyeipoTovr\(TO Kai cre yaXKOiV civBptdvTcov a^^ehov eTL/Jicov. Merc.' ev ydp dXXcov KaXX(07T la /icLTcov avral'^ hoKel. tum i})sa nam cum potest. quisquam non modo privatus sed populus potius haberet. ouTft)? dv Aairaalq. dici vix desiderium lata quantum fuit egregie facta. e^ovalav Xeyeiv dv elirov. e(^r]Kev. with the ref. el Tt? ovto) ^irapTLaTaL^i i) "ApyeL deo^ to /leXL^^^^pov av-)(r]/ia Aea/3LCL)v Sa7r(f)co Kal r/ t?}? Tivdayopeiov aocpia^. Ayn. 4. Verr. dat tibi iustam excusationem. OTToaai avTal^ pLeTCi Trpov^xeLv Ty]v tov a7rovhr]<. avvi]yopr]aev. iv TaZ? dyopal'^. 30 artjpia Kal ttoXitikcov Trpay/ndTcov iiV fieTovcna. . ov)^ avTOiV. TeXeaiWa.

r LIFE OF SAPPHO Lucian Lovcs: If Avomen liad a parliament and law-courts and a share in politics. since there is nothing on which tliey pride themselves more than that it should be said that thcy are ladies of culture and learning and write poems almost as good as Sapphos. ahnost grants you extenuation. work of Silanion. is thought to be an indication that Sappho'8 Sicihan exile was spent at Syracuse 171 . or Theano the daughter of the wisdom of Pythagoras. so finished.^ that. Could this I admit. Cicero Oralions against J^enes: The Sappho which was stolen from the town-hall of Syracuse. Nay. . who took arms against the Spartan nobles and thus caused Ares to be reckoned at Argos a woman's God^ nor yet Sappho_. Charicles. be in fittcr iiands pubHc or private than those of a And raan so refined and cultured as Verres ? how sorely this stolen Sappho was missed is almost more than words can tell. Xot only was the poetess exquisitely portrayed. the delicious glory of the Lesbians. (above). but there was a world-famous . so refined. you would have been elected iceneral or president. and they would have put up bronze statues in your honour in the market-place. they could hardly have proved better champions of its cause. The Same On Paid Companions For ladies make a great point of having persons of education in their : pay^ to attend upon them and accompany tliem when they go abroad in their chaii-s. Periclcs could hardly have made out so good a case for Aspasia. so perfect. Indeed. . not even Telesilla. had all the wisest and cleverest of their own sex been given the opportunity.

ovT(D<. . <^dp ToiavTa ^ mss siistulisset which some edd. . Kr/TTOi. iO r] he /lera ravrrjv (ap/bLOvla) 7) yXacpvpa Kal dearpiKi] Kal ro KOfjL-\^ov alpov/jievi] TTpo Tov aepLVOv TOiavrr]' ovo/uLaTWv alel ^ovXerai XapjSdveLv tcl XeioTaTa Kal /laXaKcorara. Za7r(f)co Demetr... ttolol':. avTi]<. T)cm. elvai ireipaTai. e^ avTwv eireiTa ov^ o)? eTvj(ev d^iol ravra 8e To TjSv. elaiv Be al /lev ev tol<. reliquisset. Eloc. reading ima mss (TUfel.. ti/v €V(pa)Viav Oypco/ievi] Kal tt/v ev/JLe\eLav. ')(apaKTr]piaTiKa (f)aLveTai 5' TrapaheLjpaTa 'Waiohov T€ KaL t/}? dppovLa<. . irpdy/laaL ^ripiTe? epo)Te<. Ta9 dppovL(L<=. keep.LYRA GRAECA epigramma Graecum pernobile incisum habuit in basi. TiOevai ovSe aTrepicr/ceTrrci)? avvap/ioTTeiv Odrepa T0t9 €T€poi<.. si unam litteram nunc enim. twv he TTetf/ \e^€i ')(p)]aap€V(ov ^laoKpdri^v t€ tov WOi]valov Kal Tou? eKeivcp 7r\r]aLdaavTa<. qui haec subtiliter iudicat^ qui solus intelligit^ Graecam scisset^ certe non quod inscriptum est inani et id ablatum indicat.. Hal. iTOLr]ai<. avvappoTTeiv eKaara TroWy]V a(f)6Spa TTOiovpevr) (ppovTiSa tov avve^^eaOai . /lovaiKWTepov^ iroielv hvvi/aerai TrapaTiOe/jLeva Tov<s i^xov^.Kal avv)]\€i(pOai Kal TTyooTreTet? dirdvTcov avTcov elvat TOiavTa Tiva /jlol Kal TavT7]<. dWd BiaKpLvovaa rd iTOLa tol'. quod iste eruditus homo et Graeculus.^ in basi^ declarat quid fuerit Dion. Troiovpai Troi)]Twv /lev Kal AvaKpeovTa. oXr/ 2 ?} olov vv/jLrf>aL0i Xa7r(f>ov<. av^vyla^.. 172 for no7i . rd v/JL€vaiOi. aKOTTovaa Kara ttoIov fccil a)(i]/jLa X7](f)0evTa '^^apiearepa^ dTTOTeXeaei Td<. 132 Ta /xev ovv etSr] tmv 'xapiTODV ToadSe Kal TOidBe.

cultured Greciaiiwho can who is the only man who understands such things. : . the style whicli makes for elegance rather than grandeur. Hesiod. of literary charm are many and various. it may be the reside in the subject. 310. . if treated 3o. Gardens of the Nymphs.LIFE OF SAPPHO Greek couplet inscribed upoii the base^ which this such things. Demetrius on Stijle The forms^ then. not put its words just as they come or combine them without consideration. a wedding. 23 ^ Plin. For examples of it I may mention. But charm may also : For instance. 19. 173 . see also Tat. For the inscription on the empty base dechires to-day wliat the statue was^ thus prochiiming the theft> really criticise Next Dionysius of Halicarnassus . a love-affair. which(?) * Such themes are charming even N. would never have dreamt of leaving behind if lie had known a single letter of the Greek alphabet. Plaa. on Anth. and what arrangement will produce the most taking combinations^ paying very great attention to the coherence of the parts and the perfection of tiie Such appear to me to be the characjoinery. .Demosthencs comes the (inished or decorative style. by Leon. cf. in poetrv. and in prose. In the first phice it invariably prefers the smoothest and gentlest words. in short the entire subject-matter of the poetry of Sappho.H. it does ness and their resultant charm. Isocrates the Athenian and his school. Sappho. teristics of this style. seeking euphony and melodiousSecondly. 34 mentions a picture of S. Gr. but first decides what elements will combine to give the most musical efiect. adv. 130 see also Comp. and Anacreon.

P(d. 7rA.TT0iej/ Trapdfvwv ^imoKuuiffav * .ev Mov<Ta<.T. irTepa Kal tov<. /^oaTpv^^ov^i 'xpua(p Koa/iijaaaa irpo tov Ei(f)pov aTTevSei 7To/i7TevovTa<. oi)t&)? eupelv o)? Trjv Oeov dpeaai tu> avTcov TTonjTcov jiavOdveiv e^eaTiv.iTiaiaTopa' Kal t/}? p. 189 dhrfKov els ^aiK^o) tt/v Mi/t^- IUSS QaKafxov \rjvaiav /jie\o7roiov' ' ^ mss mss et 174 rjiBeuy k.ev rjWeov^ Kal Trapdevov. ra Be WcppoSiTT]^ opyia /lovrj TTapijKav Tr/ Aea^ia 'Ea7T<poi Kal aSeiv Trpo? Xvpav Kal TTOielv Tov iiriOaXd/jLLOv. Ka\ovp. <eh> vu/i(pelov. ovhe tov "Epcora ^Rpivvv TTOLi]aeLev Trj epfirjveia TlyavTa. OTi Se /xeya? 6 KivSvvo<. Tr\r]V oaai peTcoircp /Mepi^ovTai.LYRA GRAECA Kav V7T0 'iTTiToovaKro^ \eyy]Tai. Ta? XoiTra? Tat? avpai^ d(f))]Kev vttokv/laiveiv y irveuaaiev' ^ TOiv he to. ovSe to yeXdv >'} KXaceiv. Trpo? yaiJirj\iOV %opoi^ koI epcoTa. dyei Kal WcppoSiTr/v e'^' dp/iaTi ')(^apiT(ov KOi X^P^^ 'EpooTcov av/. 9. An/Ii. w TratBe?. Kal cdSa KivovvTa<. Ovkovv 4 1.ev vaKLv6(p Ta? Ko/ia<. fieXo'^ TTap <d)v> Oi TT/Vetof 9 olfiai Seivol Td ipwTiKa yevo/ievoi. /leTapaiov. hiTr] ^(^opevawixev.^ rf Kal elar]e /leTa ToG? dydiva'^ et? Sd\a/iov. Ka\ ra^ oipa Kal i)ixlv. Or. Tr\eKei TTaaTdSa. Kard /j. dvelvai ti]V dp/ioviav Tr)v avvTOvov. dyeipei iTap6evov<. diraXov IxeXei. Iv dfxa /leTd irapOevwv iir W(ppoCTrel 't)[ieTepa<. Him. to XeYO? aTpd)vvvai. yapievra ian Kai avTO IXapov to Trpdy/jia i^ eavTov' ovBeU yap av vfievaiov aSoi opyi^opLevo^. a^iy^aaa. i7riTo\/id>aavTe<i^ Tr)v "Yipav eSei^av.

as it is to turn laugliter into tears. since \ve we may judge from the poets themmost of whom. makes the bride-bed. 247 .sisted of a niock ^ cf. Dion. Schenkl Hermcs 19n. and them she decks with gold on wing and tress and makes to go on before tlie car and wave their torches on hifjh.^ Palatinc Antliology lyric poetess of : Anonymous on Mytilene : Sapplio the Come. marriage-dance and graveness of our music^ so that we may the better trip it with the maidens in honour of Aphrodite. Hini. gathers the maidens into the bride-chamber. poetrv. weaves the bower. Himerius Orations : So it is time for us. my summoning our Muses to are the relax to marriage-love. contest of suitors 4-21. ap. tiiough past masters in love- the Goddess^ selves. choice of expression. Bhe(. Hal. How hard it is to find a tune gentle enough to please children. tlie brow to float free upon tlie wayward breeze.LIFE OF SAPPHO by an Hippouax^ the subject being pleasing in its It is as impossible to sing a wedding-song in a rage^ or make Love a Fury or a Qiant by mere nature. went as bravely to the description of Hera but when it came to the rites of Aphrodite. left the song for tlie lyre and the making of the epithahimy entirely to Sapplio^ who when the contests ^ are over enters the chamber. and brings Aphrodite in her Grace-drawn car with a bevy of Loves to be her and her she adorns with hyacinths phiyfellows alxjut the hair. ye daughters of ^ part of the ceremony apparently eon. leaving all but what is parted by as anv bov or s^\y\. .

13. Bo^ere Ka.yjv eXaTTOV Slcl tovto ?}Sea)9 eSe^d/jLijv t6 Trapd aov TTLvdKLOV drrroaTaXev. 6 T^/io?. KaXov arrjaeaOe^ yopov' Oefj vjxfxi 8' aiTapl^eL e^ovaa Xvprjv. ^ mss ar-oaaa-de . 7ro\vyt]0eo<. AafxvvOLOV. mss TuvTa 176 9.ev eTvyyavov dveLvoaovj tjjv yecoypa(f)Lav ore direaTeLXa^s' ov p.^09 he ev hevTepco 'Eyoo)- AoKpLKa (f)r]aLv aafxaTa KaL tcl Ka\ovfieva ovhev tcov ^arrc^ov^. 30 ^AXvTTLQ)' ijBr} p. Paus. ov fid^^yv deL8ovTa<. 68 : mss yXavKurrr. e^et ydp Kal tcl BiaypdjiifLaTa tcov TrpoaOev /3e\TL0). KXeofievov<.vpr}vaLOv 7roL7]T7]v. tov<. ^le\y]TOu. fievo^.XXt07r77?. Kdyco Be Kard Ath. Nonn. evda a^pa ayXaov ravpcoTTLSo^. Ep. TLKcov Ta epcoTLKd ' ^LacpepeLv. 1. . Xa7T(f)ov<. 7r/3WTO? Aea^iav Ta iroWd fiCTa 'EaTTcpo) Ti]v epcoTLKa TTOLijaa^.. Kal KaTefiovad)aa<. cf. 639a KXea/).. Id/x/Sov^. 14. o\ov<. ^ re/Aei^o? irohoiv ^ij/juaO' eXKTcrofjLevaL. ttjv ^ovirdXeLov Kard tov K. d)v eypayjrev ti]v ^EiTVLKpdTOvq A vTL\aiha TdpcoTLK eKfiefjLdOrjKa TrdvTa ^ 7TavTe\o)<. 25. dpfjLGTTeiV. avTo 7rpoaOel<. ^ 1 Heck.' rj yXvKvv vjjlvov Za7T(j)a) ^(^pvaeLijv 'xepalv oX^LaL op-^TjOpLov eLaateLv avTrjt. Kal AvaKpeovTO<. r} KaXr] SaTT^w jSovXeraL Tol<i Jul. Ibid. t/}? dW VOflOL<.LYRA GRAECA "RXOere tt/jo? Aecr/3t3e9. 605 e ' 'AvaKpecov . 1 .

but you have ijiven it a touch of literarv distinction bv prefixing the iambic motto not such iambics as sing the fight with Bupalus^ to adapt Callimachus. cf. Not only are the maps in it better done. Cleomenes. in tlie second Book of his Love Poefri/. c. trip it delicately in tlie whirlinnr nieasure on your way to the shining precinct of the bullfaced Hera.o for your leader golden Happy ye in that delightsome round ]yre in hand. Atlienaeus Doctors at Dinner quote 1.r. to his Lrmhics referring to Hipponax' lampoons (in that melre) on Bupahis an«l containing the wor«ls (f>fpu>v Tjjf BovirdXdoi'. that ye are hearing some sweet hymn of Calliope lierself^ I To Alypius I was ah*eadv recovered when I received the Geographv. A. who Mas the first poet after Saj^plio to make love his })rincipil tliemc. Meletus. and there take up the fair dance unto the Goddess with Saj^ph. 407 (above) * i. thougli your missive was none the less welcome for that. ye sliall think.but of the sort wliich the beautiful Sappho chooses to fit to her melodies. and Lamytliius. I. as they are called. too. Julian Letiers : : — Pausanias Description of Greece Anacreon of Teos. 7. are quite as good as Sappho's or Anacreon's.— LIFE OF SAPPHO Lesbos. N . for sure. to Epicrates' Anti-Ldis ' am letter-perfect in all the love-songs of Sappho. . : . 1011 lafi^oy ov fiu-xw dd^ovTa \ VOL. : Trealise on * cf. the chohamVncs prefixed by Callini. .' : The Same Clearcluis. decbires that the love-songs of Gnesippus and his Locrian Ditties. Pap. Ox.

. tijv ^arrcf^Ci) ')(pi]aaa6aL 599 c 13. 635 e 14. iv tol<. Ibid. o Kal ypa/i/iaTcov Phot. (dpfiovLa) eaTL TpaycpSLaL^. 7rpct)Ti]v . . Se ls. Plut. 13. 01 tmv TratSLKMv' eiraivoL^i yap ypoov lBicotikmv ao)/j. . ^ApeTrjv Aiijyrj/idTcov. fiev 6 PaaL\LKo<. cf^rjaLv ovto<. aTo^evo<. eTTrjv Mus. . ^i^\lol<. .eTpcov. Suid. p. Kai V7rep/ieTpov<. Uepl Te^VL- Tfj 7ti]ktlSl. .aTO)v avToU toc<. TrpcoTrjv evpaaOaL ttjv TOL'9 Tpaycp8o7roLov<. 'ApL- ^lL^oXv^LaTL. 20. ISLcoTaL Kal ovSel<. yjr€vSo<.evo<. Se Ath. 16 Kal 7] Ml^o\vSlo<. he avTW laTopLcov l/3' . ev KLvSvvo<. 7]<. dp/jLu^ovaa. .ev dfieTpov<i elvai . . . . 28 to Terpander 178 . . tcov /iaT€v/ievcov . 170 d koX to koXov Be avTO avv tjj akrjdela koXov iaTt. ^ see also Ihid. ApuKcov %TpaTOVLKev<. Se ovBev KoXov. epcop. Mdyv7]T0<. tov TrpcoTov yov . TTap (o vtto tov eiTaLVOV evTavOa Se fiaaL\LKo<. ovTG OwTreia ovTe KoXaKela.a/iaL\ecov iv tco TlepX . /juaOelv. 6/30)?. M. Be 6 iradr^TLKj-j tl<. XaTrcpot fiev ^ap Kai AvaKpeovTL avy^^copovp. (yo<. 36 Ibid. TO ^L^\iov iK 7To\cov Kol SLacf)6pa)V Se BevTepo<. Xa7Tcj)ov<.LYRA GRAECA Them. dveyvcoOrjaav iK\oyal SLcicpopoL iv avvei\eKTaL ^co^raTpov aocpiaTov.) €K T€ TOiV XcoTTjpiBa Tla/i(f)i\f]<^ ^K^tlto/mcov Kal eK tmv ^ApT€pcovo<. Bibl. KaT ^ * eTL Tvvai^l Tle7TpaySe Kal iK tcov ^ ascribed however Gratian a kind of IjTe played with the . Or. TiepL Tcov ^a7Tcj)ov<. Be Xlkvcovlo^.' ypa/i/iaTLKo^ . 'y^avpwOelev el epco/jLevoi. '^arrcpco cf)rjaL koI M€vaL)(^/io<. . 6 tmv) .

the writer of books of Sappho. . . from whom it of tragedy. and from the : . .- no falsehood — aduhition.^ Menaechmus of Doctors at Dinner Sicyon in his Treatise on Artists declares that Sappho was the first to use the pectis. . — A gramSuidas Ltxicon Dracon of Stratoniceia Metres On the marian. Plutarch On Miislc The Mixolydian ^mode' is particuhirly sensuous or emotional. : : . : mode was invented by the writers taken was Accordinor to Aristoxenus this by Sappho. speak now is Imperial^ and so is the beloved.. d). — .* Athenaeus The Sappko. . suited to tragedy.LIFE OF SAPPHO Tliemistius Orali<ms:'^ beautiful only . Chamaeleon : in his treatise On . from Artemon the nesian's Tales of Feminine rirtne. The second 15ook incUides passages from the first Book of the Epitomes of Pamphila Magdaughter of Soteridas . Photius Lihrari/ Excellent selections were read from the twelve Books of Sopater the Sophist. . when accompanied by itsclf is truth. because both loved and lover were private individuals and there was no danger to be appreliended if their praises should But the love of which I turn the beloved head. : Same . . And beauty . . 635 b. be it called cajolery or \Ve may acquiesce in the unbounded praises given their beloved or shall I say excessive by Sappho and Anacreon. wliereas is beautiful. The work is a compihition from many excellent histories and tracts. confused K\TlKTpov or quill by Suidas (above) with the 179 N 2 . . . fingers (Ibid.

GO Cons. Sia<f)op(ov tov ^aiT^iKov he eaTC to dp)(^o/j. [tt. . Ital. Comp. 43 iiTf)(^opLaiJL^iicov fiev ovv ro ^a7r(f)iKov KaXov/ievov evheKacrvWafSov olov (fr. yascTjepiocu ic. Or. [tt. Class.vpikov . /cal }s. — ' Sch. .evov «tto Hejili. . eh aiTOv^elov olov {li TroLi']paTO^~

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2. Heph. 8iaTi^(La ojjoia iari.^ SAllTOT^ MEAHN la Mus.eTpeiTaL /xev vtto ^iaTi)(ia'. Ant. . 1) eari Se Kal irap' AXfcalfp Kal dhrjXov oiroTepov earlv evprijia. aTTovheiov Kal XPp/ov Heph.r. el Kal ^aiKpiKov Ka\e?Tai.aTo<^ fiev KaTajieTpelTaiy <TOL<i> avTO<L^> ^ 3e To avaTi]fia e^6t irXtjpovp. . vi: 'Aepicov iirecov dpy^opai dX\! ovdTwv. 293. 1) Koiva 8e (ra . 24 existence of an edition of S.'s to nietre but according to works arrangcl not according l8o Dion 1922 . 19. KaTap.evov. this seems to indicate tlie Clir. 2.X.^ ^ ^ E E: ^ 2 see also Dion. ttoli]- oaa vtto avaT)]/j. old eaTi rd iv tw SevTepu) Kal T/o/rfo fJLaTa) 'Ea7T(f)0Vs' avTt] Ce 7] iv ol<. Hal. . i]poilKov

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.(J.LYRA GRAECA Aioyevov^ dWd ye rov WTrocf^dey^dTcov diTo oySoov yov t/}? ^aTTcpov^. see C.

PIot. . or IVingcd 430 air^ but_. Fort.. in which the stanzas are of two lincs and those hnes similar. Atil. Mar. ... for all b. 30 quoted p. cf. 176 i8i .^ lines in the in the THE POEMS OF SAPPHO la Coluiun i. of a book Words hekl by Sappho The words good I entitleil *'E7rea in -nTepoeuTa an Attic vasc-picture begin are words of c.see also for S. Confebruch subject ^ this introjxrssim. to hear. Hephaestion Ilandhook [on poems] Poems are called ' common when they are formed of ' svstems or stanzas and have thosc systems all composed of : ' ' same metre. Schohast on the Same [on varieties of the heroic The Sapphic variety is the line which hexameterj both begins aiid ends witli a spondee. ete.. . callcd after Sappho. it is — .'s own collection of her poems . JuL L'p. Hephaestioii Ilandhook of Mclre First the epichoiiambie. Vict. as for instance the poems Second and Third Books of Sappho. :' that. . . thus (^lliad : 2. Tercnt.C. thougli : . as It occurs also in Alcaeus (fr.SAPPHO Dicfa of Diogcncs the Ci/nic iVom tlie eighth Book of Sapplio.^ Ohitcr . 1) .'s metres Heph. aiid lastly . called the Sapphic eleven-sylLible.. and it is 1) uncertain whicli of the two poets invented it. ductory poeni apparently stood tirst in 8.

iral Alo<. 5oAo7rAo'«-e ^ TrpoTi yav /leXaivav l. 1920 iTTepiyas) (tos) /xeKaivas apogr.ricra(T6ai.p^o/j. kciXco ^ Be a' ayov 10 w/cee aTpovdco irpoTl yav /leXaivav^ TTVKva hivvevTe iTTep dir oppavw po^ hid fjieaaoi). at iroTa KaTepoTTa auSo)? citoiaa TrtjXvc cKXve^. 8.: LYRA GRAECA A' 1 A^poStV/^v ets Dion.Tapi6/j. tt. Comp. '2. 70»' /xeKaivav ^ 5o/7rAd.. • tov Ka. iroirjTcov 6.K\L<TTa TOVTovl 5o:<e2 x^^P^'^'^^^'^ i^^pyaaaadai fxeKoiroiav 5e ^aircp-M. Philol.wvi5r]s' aKpi^ws fjiev Kal ©eoVo/XTros.ai jxkv EvpiiTi^rjs' avyypacpeoiv twv TToWuiv^^Ecpopos re drjcrw 5e 'Hcr/oSos.i/J.o/co) Choer. SoXoTrXoKa.aTa tjjs apixovias. cre* ^ hdpiva. 23 7j hi yhcKpvpx koI audr^pa (ruvOecns . OufjLOV. mss aWe- also iroiKl\ocppov (less likeh" in view of 5oA(^7rA.) cf. ^qTopojv Se Ka\ TavTrjs irapabeiyi. 184: mss here ^ (9-11) dual Piccolomini -E Proc.C. . TTarpo? 8e hofjLOv XiTroLaa Ta? eyLta? ')(^pvaiov ^XOe^ apfx viraaSev^aLaa.ev ovv euoiye ahTri irpxTeixravTas Ka. Xicraoiiai \ yLt>. 8e re 'laoKpaT-qs. on Heph.i. axoKovQov 5' av ^Xt) Ka\ tovs iv Xo-paKTTipa Toiov^s exf* • • inoTroioljv /j. ^ancpj}. : mss irep\ yas (Ald. prjTopwv 5e 'lcroKpxTrjv. Kol /ier' avTi-jv 'Avaxpecov re Kal Tpayy^onoiwv Se fxovos /xaWov ou5eis.") (251 Consb. Trpoxetp/o^auevos 5e aTrb ttjs /xeXoiroiov' TioiKikoO pov aOavar 'Acj^poStTa.fa E : 182 . Vict. o aWa TVLO eXu . p! daatcri fjii-jh' oviaicri. H. Camh. fSoc. . TTOTVLa.

among h-rists to 8appho. Euripides. has the following characteristics . there : : . . taking Sappho to represent the poets and Isocrates the orators and I will begin \'\i\ the lyrist is most . and the strong pinions of thy two swans swift_. now give illustrations of this style. but Ephorus and Theopompus show it more than among the orators I should choose Isocrates. 485. Among epic writers I should give the first placein this style to Hesiod. Heph. marked is immortal. It would not be out of place for me to enumerate here the finest exponents of it. Stat. Avith suffering pray thee. Ath. E. "83 . = 'sitting on a throne of inlaid wood or metal' 3 cf. and hence to be regarded as the Ist ode of S. with Anacreon and Sinionides next to lier among tragic poets there is only one example. Prisc. 172. ever ere this thou afiir^ and stepping from thy Father's liouse harnessed a golden chariot. 391 e. (opp. 2. to thee not my heart^ O but come hither hast heard and Queen.. 88 with sch. to be exact. .prob. . seeProc.37.. . aS'. 1.). Hdn. Hesj-ch. to illustrate the metre. 9. none.'s Ist Book in the (?) Alexandrian edition.M. Among historians. my if voice wile- Whelm and sorrow.: SAPPHO BOOK I To Afhrodite 1 Dion3'sius of Halicarnassus Litcranj Composition ^ The finished and hrilliant style of composition .. have 1 cf. Avhich was entirel}' composed of poems in this nietre . 41. Aphrodite splendour-throned^ weaving child of Zeus. : not sparrows. 2. wkUs iTTpovQoi: nsed by Heph. 2. 1. 948 Lentz. Alc. I my prayer.. ^ fair and whirring from heaven through mid-sky. I will .

5e Tr)v dpeTrjv drrodeLKVVTai . SeKeT. al Se Scopa /jL7] /jLy/ ee eK /jlol ' kol vvv. (from above) corrected to Kai. eveTrna kou t] x*P'* ^*' ''"i? (Tvvcx^^^ '^**^ TvapaKelTai yap a\r.rj\a emav^Oeaei Ka. ciBiKi]eL . e| avdyKris yevoiT' av T]tx7v v^ovs aXTiov to todv ejx(pepo. cfyevyei. "TrpoacoTrcp OTTL Sr/vTe TreiTovda. kmttl 15 ijpe' hlfVTe KoXllflL.\ot5 to. Taxeco'. then aayriveaav. : E 1S4 . 2. KOiTT e/jLO) fjLaXtaTa deXco yiveaOaL TLva Si/vre TelOco /jLaivoXci OvfjLcp- ' KOL a ayr]v e? Fav cf^iXoTaTa 20 '^(iTTcf) . yeyope tuv apixoyiwv.xevo:v eKXeyeiv de\ Ta KaipiwTara. aay'. ovxotv crvveBpeuei Tiva /JLopia Ta7s vAais cTreiSJj iraai to7s TTpdyuacn (pixrei avvvnapxovTa.]v eaaav. above) a or omit : aayriveaaav k. Ka\ <ydp al al he . or t' mss (cf. TavTr]% .t.ofxfvwv Koi eK ttjs d\T]Oeias avTrjs eKaaTOTe \afx&ivei.\. cpLXei. ^ S' avTa eaao. : (r' emph. oTe to CLKpa avrwv Ka\ vrrepTeYafieva SetvT] <. y^a^eirav Ze \vaov oaaa /jLepL/jLvav. Ka\ TavTa ttj rrpos aAA. . av dv/jLo^ l/L/ieppeL. or yua. . 10 .yiyv€Tai^ Ka\ eK^e^ai Ka\ eis d\r)\a avvSriaar E ^ (Ibid.LYRA GRAECA alylra 8 av i^LKovro' cWavarcp /jietBidaaia' ^ . aayr]vevaav. k^l (not Kai). 6v6/xaTa Kot (rvvixpavTai Kard Tivas olKeiOTrjTas Ka\ av^vyias XeiOTTjTi (pvcriKas Twv ypafxjjLdTuv [Longin. ScoaeL.air(poi) Ta avu^aivovTa Tals epooTiKals fxaviais iradrifxaTa e/c tSov irov TrapeT. o) jxaKaipa. cpLXrjaei KcovK edeXoLaa' 25 Tt9 t Ta^e&j? ^LCjo^eL.] Snhl. av/i/ia')(o<^ T7]y \e|6ajs w dWd 7/ Be /iol TeXeaaaL TeXeaov.) mss kxl.ddrrep ev tj aujxa TTOielv hvvaaQar to jxev ydp tti eKXoyri tov dxpoaTrjv TUiV KrifxjxdoTov tj Tcav. Th Se tt) irvKVuiaei tcov eK\e\ey/xevxv irpoadyeTai.

it follows that we shoukl find the source of sublimity in the invariable choicc of ihe most suitable idcas. and the power to make these a single Avhole by combining them together. if slie wcre to give thee have room Sappho^ that does thee thee. didst calledj aiid I donCj and ' Whom in her heart's love^ wrong ? pursue give . for instance. immortal why towards lliee 11 tliyself my my what heart would fain stay in battle. the second by the cohesion of tlie ideas we choose. ahva}'^ expresses the emotions proper to love-madness by means of its actual and visible concomitants.n\ there face. . I reply tliat it is wherc she shows her skill. even for if dark earth^ and . . The fir. 2 [Longinus] The Suhlime Since everything is naturally certain affixes or accidents coexistent with its substance. Word follows word inwoven according to certain natiiral atfiuities and groupings of the letters . If you ask where she displavs her excellence. O come to me what this wild heart Avoukl shall I who make is it. ' now^ as thou camest then. Sappho. the best and the most marked of those concomitants.st attracts tlie listener l)y the choice of subject-matter. Compare this accompanied : bj' : i8S . to assuage sore trouble and do have done. I gently ask what ailed me. and then in combining. and she loves not^ if aiid lo with a smile on that she will not take thy whether or no my tlie aiid thou.— SAPPHO dr. blest Lady_. . The verbal beauty and the charm of this passage lie in the cohcsion and smoothness of the joiner}'. slie flees gifts^ sliall soon she yet shall soon love she shall. first in choosing. .

cf. 'iva /j. eTnppo/JL- ciKOvai. iao<^ o)Viip e/jL/jiev aa^ viraKoveL Kal yeXaicra^ l/jL/jiepoev. hl ^XcopoTe/ja 3e iroLa^ ' S' oXlyco 'iTLhevFi/v TedvdKi-jv ^aivo/iai' — dWa 7TdvT<a vvv T>o\/idTe\ eTrel Trevr/aa. in one to iiroTTTSjLaev) ^ or yAwaa^ idyi) ov 5e y. ByOo^e'. 7] 67r(^TjTei.^ Tp6/io<. al/xiovos . XeTTTov avTiKa XP^ '^^P oTTTraTeaaL /SeiaL w? LKeL. 186 ^ a perh.r] eV ti (ppovu. Phihl.^ ov 0au/xa^eis.^ opij/i. 1920). irepl avT7]V wdOos (palvTjTai. : : XenTov Ald. -f) T) eis TaiiTo cvvaipeais dweLpydaaTO ttjv i^oxv'^' Ahr: mss ^ RolDortelli -E {Camh. ws ecprjv.^ Proc. 22 mss Kapbiav iv aT-fjBeaaiv {-eaiv) ^ E (Il)id. yXwaaap. ws inrh to avrh t)]v ^pvxVi^i ^b actina.t. KaKyeeTaL. ixdv E. for oi = 77 cf. ras oi|/eJs. iSpco^. with Piut. aKoyicTTei irdvd^ Kal /co0' virevavTiwaeis d/xa ydp (po^elTai jxr) ^ Kap' o

Related Interests

iyov TeOvriKev. Soc. ^ jj. naOwv 8e avvoSos : irdvTa fxev TOiavTa Kal Af)i|/is S'. ciypi-/. at^w ^pSx^ti^s {Ppox^Ms) k. twv aKpwv yiyerai Trepl tovs ipuivTas. d Se S' /i rralaav 15 e/jL/Jii.'^ 8' ovSev * ^T^CL^^^po/JLciKev. to Brj /lav ^ Kcip^av ev cFTi-jOecraLV eTreTTToaaev'^ 5 ' o)? yap e? t' lSco.) mss ws ivT^aaev (corr.M. 407.LYRA GRAECA ^aiveTcii Oeoiaiv OTTL^ evavTLo^ tol li^dvei Kal ifkcKjiov aSv (pcoveijjlol kj]vo<. Tas aKods. /le cjxjova'^ yXcoaaa Feaye.\. ttjv xP^'^^) t^ ws aWoTpia Sioixo/JLiva ^vx^Tai KaiiTai. ovoev er dWd Ka/i /lev S' 10.

of a compd. \/vx^Tai below) apparently read ko5 iiis niss e/c but fxoi is necessary and 208 to sliow j5. A. 1. hearing. methinks. //. Phit. Ka\) fj 187 . but it is the choice. quoted Cram. in fain be content wilh distant reverence' Virt. 1. Pemetr. 208. 38. 30. so that she expresses not one eniotion but a concourse of emotions ? Now all such things are characteristic of the lover. Wil. 18. Jfacbclh 1. as I said. raves and is sane. 10. Caiull. .^ Brochea) dimin. the sweat runs down me and a trembling takes me altogether. ^ {or see '^ ' . : /uL 18. in a nioment a delicate fire has I am tongue-tied overrun my flesh^ my eyes grow dim and my ears sing. to sit before you and by to the sweet accents and Avinning laughter which have made the heart in my breast When I look on you.he Greek is 'my Camb. of ^pax^s. and indeed is afraid she is nearly dead. Soc. iravToX^arov yap (po^^lrai 5' /cowx"''"*' i. of the best and the combination of theni into a single whole. Heller -E: mss is E (Ibid. cf. 51 * Xhpws ^vxpos Long. {i. mss indevff-ny. BrocheOj^ my speech comes short or fails me quite.P. 22. J. 1920 * the Greek tongue is broken up' cf.— SAPPHO be a God. flesh.^ but now that I am poor. tongue. and by contraries both freezes and burns. fcf. /. . 1.O. inSevni'.O. Pr. till I am as green and pale as the grass/' and deatii itself seems not very far away . tlie above or Tn8fvKr]v ireVTjTO x^^'^°-'' ^ " ' E (Ibid. that has produced the excellence of the piece. is fem. Catull. Cram. . 2. beat so fast and hiijh. 15. • Jl. Proc. I must fain be content ^ It is to listen close . Erot. Sch. Crani. Is it not marvellous how she has recourse at once to spirit. body. Phit. and ^ ^. sight. Philol. 7 words for swooning are mostly mctaphors from dying * metaphorical ('beggars can't be choosers') and exphiined by the lost sequel = if I cannot see you face to face I must * cf. all as quite separate things.) '^ ) 5e (eKade) mss : t) a. .

Koi ravra yap Ka\ tt) txl/ei Trpoa/idWei warrep aKori oVe e'|a77eAAet ris. 40 'iKavev Ka\ At ae ^ 2. KoX ras yuev ovk alaxpas {rwv rjhovwv) eariv airXws iKcppd^eiv. 8.K. Jul. Men. Gr. Vdpyapov ' Ka\ . T7J ?. tSeiy (Bhd.iTr) ydv " ^ mss ^ (wroiigly Ka\ alO.^ Hermog. k. Gr. oiov /coAAos x<^P'oy Ka\ (pureias Siarpopav Ka\ pev/jidrwv iroiKiKiav Ka\ oaa roiavra.eva. . axVI^o.LYRA GRAECA Eust.LV and then cut out) darepctiv aTroKpvTrreiv rriv read as i)v efihs : KdiJ. y. bpwjxeva t/Sovtji' SaTrt^w- UjJLCpL O VOCOp KeXdSec 8l vaScov '\lrv')(pov p. 729. 1. tojv KKririKuv) dfxa fiev ydp eK TToKKwv tSttwv rohs 6eovs ewLKaKe^v e^earLV. . ^ C('s etprirai. 'A(f)pohiTr]V ^oiviKas elrru^v ovoixd^ei ('Oixripos) Ka\^ibccviovs avrwv.' Ki/7r/)o? Kal ITrt(/)0? ?. 315) y\vKvrr\ros\ [tt. * cf. . ws rrapd rri 2. 20 (Jl. .> Kai oaa rrph roi/Tuv ye Kal yuCTa Tavvu 5 Str. 135 (tt. -E. . Ka6a Kal ?/ 'ZaTr<pd!) ttov ' (prjaiv "Acrrepe? /jL€v d/jLcpl KoXav aeXdvvav dyjr diTVKpvTTroKTL cfydevvov etSo?. Walz 3. (or dpyvpa ya7av':) Bif. Ylcivnp/Mo^ ^ . ZaTrcpdl. 19 «uAtj rrjv aeKi]vriv dpyvpeav (pria\ Ka\ Sid rovro rwv aKKajv Xd/x-rrria' •^ mss v\^. Walz 9. cf. aWvaaojjLevcov Ee (pvWwv Kco/Jia KardppeL'^ <MV€fjLO(. aarpa us vTrepavya(6/j. Ep.TL avvr^Qei xp^^Tat ios ''"ihriv el 5e rriv fxriTpoTToKLV 8' ^ .t. . Jih. 555) l(n4jv 5e on iu t<^ (paeivriv au(/)l a f:\y]vr)v'' ov rrji' TrkriaKpari vorjTCOv Ka\ TrkripaaeArivriv eV auTfj yap afiavpd ilai to. OTTTrora TrXi^Ooiaa [xdXiaTa \d/jL7Ty]a' dpyvpLa ydv.a\Lvwv. tt. i88 TToKKaxov evpiaKOfxev ^ aX E : mss ^' Ka\ B: mss ^ . d.

: Aroiind tbe fair nioon tlie bri«^ht bcaiitv of tlie is lost tbeni wben ber silver liobt illumes tbe o world at its fullest. 8. Hermog. 8. Such things give pleasure to the eye when they are seen. as Sapplio soniewhere says ' : ' . 7. 48) and Sappho"s Hne : .SAPPHO Eustathiiis on tlic Iliad Xote tliat iii the wortls around the bright inoon \vc are not to understand the moon at her full for then the stars are dini because tliey are outshone. and to the ear when they are tohl of. : Whether thou . as for instance the beaut}^ of a place. Gr. stars 42 Hermogenes Kiiids 0/ Stylc [on sweetness or charm] AU clean and honest pleasures may be described simpl}'.3. 4. the sweet diversity of rivers and brooks. as for instance. 31 (see//". he is using a eommon form of speech. . ^ cf. and he came to Ida and Gargarus' (7/. . tlie . Cram. and all that precedes and follows 5 tliis.F. 23.^ Panormus . 883 Walz [art at] Cyprus and Paplios or at . ' . perh. To APHRODITE Xow if in speaking Strabo Geography of the Phoenicians Honier \^0d. . the variety of trees and plants. Sch. Lh. amid . doubtless from an invocation to 189 .S] adds mention of the inhabitants of their mother cit}' Sidon. Compare Sappho : : And by the cool waterside tbe breeze rustles apple-brancbes^ and tbe quivering leaves slied letbargy .3.cf. Ist line of G " . 150) Cypris. A.

Kav tvxv y\ ipdvov avTi\dfiT]Tai Tov xpofof ' | . cf. '^(^pvaoaTe^av TOvSe Tov irakov \a)(6i]v^ .' hv acpe^Tai. ^ Blf. : mss afipois from 1. 268. 81. Ad. 5 ^ ToiaZea{i) E. aol B eyco \evKa<. . ''iwves. . . 350 (247) AW . \ | Tivos. ets 'AcfipohLTrjv fla\ ttjs (^vxvs iinppi]ixaTa irapaaTaTiKd- A^ppoSiTa. and 8 'Attikws. Pron. an aflaptation ? or see opp. <7rLova Kava(jd> . Tro\v to * Sia tov t' KaTnXeLyjrco tol 9 Id. eyco. Synt. J^vTTpt.\dev otKal^. 126. . 51: niss Toi5TOi<ri Tors cTaipotj ' Ahr e^Liois Te Ka\ ao'is (masc.' Trj»' Ka\rjv I ovv 2a7r<pw- eXOe. &s S' &v Tr\i7aTa y€\da->] Ka\ iriri toCto. TolaSea^ ep^OL^ re kol crot?*^ 7 [cts Apoll. . Travr]yvpiaas t^S/ctt' Ka\ /caro airT. 23 'A(/)/3o8tT?7i/] aoi- ^aircpu)- eirl . y^pvaiaiaiv iv KvXiKeaaLv a/SpaL^i avfifjL€/i€Lyiii€vov ^ OaXiaLai veKrap olvo)(^o€Laa 6 T0?9 €TaLpoL<. Alo\e7s ouLoiws' Sa/iov alyofi Kol To KaTo. Od. : mss ^ -oiriv either the gender of the 190 ' comrades " is changed to suit the . 10.^ LYRA GRAECA SiOTrep aivioixTi Kai i]fJLiu cTrl ras AiovvaiKas Atli. 463c ravras XaXias ovhe els av evKoyccs (p6ov7]aai vovv exuv' /cara ' ov54v' aSiKoviJLfy ol ru>v 7re'Aas Tovs 'AAe'|iSos Tapa^rtVofS* ouSeV Ka\ TrfS 'A(ppoSiTris . . 93. 11. 21. ) * E: mss Kara air6\vTov ^ B: mss i-Kihooixov aly. Alc.

— I [will burn the rich] and the form usual to them with and I Avill Id.' in the words of the beautiful Sappho ' . 558. cf. he goes honie [to death] the best And so let me say satisfied with his days at the festival. quoters company (he proceeds I to sucli ! whose [mascuh*ne] benefit was once the introductory 8appho's Epithalainia. . E. Come. compare O golden-wreathed Ajdirodite^ would that were mine a lot as this . or poem . To Aphrodite There are horlatory adverbs of suppHcation. loves. if he injury is lucky. . . irad. Luc. 28 Aler. . ± 280. and. D. Hdn. .M. drinks. ir. 7 [To Aphrodite] and 8 Attic. our own gathering together like this for talk over the wine-cup. to bear round golden cups of nectar mingled with gcntle cheer unto these comrades of thine and mine. dines out. Si/niax: t. . to thee Apollonius Prononns: 'S. for \ve never do our neighbours and whoever laughs. 31 Lentz. .ol Aeolic have ahke this form compare Sappho ' and to thee goat. ' cf. 7 : 191 . 'no man of sense coukl rcasonably grudge us.2: : SAPPHO 6 To ApHuoniTK Atheuaeiis Dodors at Dinner: Tliis being so.' as Alexis says in The Tarentinrs. * for this ^ white feminine the nectar is of course metaphorical goats were sacrificed to Aphrodite Pandemos. Queen of Love. the niost during his time of liberty [from death and darkness]. the mascuHne inckiding the must now remark').^ . ^ and : fat of a white as leave beliind for thee 9 lonic ' — . .

./iiTepoi' koi ajx^oy Ka\ vixfiov ^aTr<pu>- al eTrotjaav jie Ti/JLiav ra (T(pa epya .ev'qs Ka\ Xeyovarjs u:s ayTTjv ai Movcrai tcS ovti oX^iav re Ka\ ^r]\wTr]v inoirjffav. * 192 . 113. Tepirva /ca\(o<. 2. 508 •tt.eOev Oavoiaa^ ejJL ')(^pvaLai eaaerai XciOa 12 Ath. uis t] 'Zaircpw' . fxe outu Seid : mss ejxais Ka\ irapa .Loi(ri QHo Bew OTTLva^ ydp /jLdXiaTa aivvov- . efiaLai rdSe vvv ejaipai^ . . 30 ^arrcpor uxnrep . .. Ilapa^dfyiJ.. (j. Mag. 13. Pron. aiJ. 571 tl KaXovffi yovv Ka\ al 4\evdepai yvvalKCS ert Ka\ vvv Ka\ al TrapOevoi Tas (Tvvr]Qeis Ka\ (plXas eTalpas. Kal ws ov5' arroOavovcrrjs earai \r. Ta2<.aTos' twv olinai 5e (xe Ka\ 'Saircpovs Boaovo clV clvai yvvaiKoijV iLeya\a'Jxoviji.LYRA GRAECA 10 hloXus Apoll. Krjvoi TaL . aXX' ev^aijxovoov oX^iav aooXco? eOTjKav ^lolaai ovB ep. oaiioo Sauelct}. ev 6eco. 449. holaai 11 Aristkl. deiaw} 13 Et.Or]. ei. aKrfKoevai irpos Tivas e. 8 Ka\ acpoy.

Magnum: As Qu) do we so for For those wrong. O . compare Sappho have done good : to. that the Muses had given herself the true happiness and good fortune. ' ijfjifios : your. 132 Etiimologicum find 5a/ieta. 1231. I ' ' instead of Sa. our. Fap. : how Sappho.ippho : ' ' who have made me honoured by the gift of their work 11 On Extemporised Addition I tliink you too. do me the greatest ^ prob. Choer.' as Sappho does : girls will call * These songs delight of my I will " ' sing right well to day for the comrades.u/xeTepov and and (xcpos their . 259. conipare S.: SAPPHO 10 Apollonius Pranouns aij. 121 Ath. her friends with Ox.05 .' [the ./j. 1(3 (see 15 below) ' ' 193 VOL." Muses ?] Aeolic has the forins d. But I have received true prosperity from the golden Muses.aa> 'subdue' we find 64w . g. once boasted to certain women reputed prosperous. Doctors at Dinner For free women to this day and a friend or acquaintance lietaira or comrade. and even when she was dead she would not be forgotten. Aristides the niust have heard e.. I. wrongly identiSed by Wil. from a poem introductoiy to a Book of poems to ^ cf. ' . and when I die I shall not be forgot.

the form the word would take in Attic. Pron.LYRA GRAECA U Apoll. 11-12 xav TOVTO eyoov o e/i avTa (TVVOL 8a' 16 Sch. is necessary to the etymology in tlie quotation perh. 1231. 1.eojaiV. Et. 51. 2 ralf. but 80. 10 e/x' aijra rovr' eyj3V crvvoiSa Pap. 98. . P. 10 [Aios al€r6s\ Trdvv yap Sie^rvTrwcrev. TalaL <he> yjravKpo'. Pap.. ]voi5a ^ \pavKpos Fick from Hes^^ch * ara^ayixov and mss \pvxpvs areKey/xov mss the first.. ajx(por4pas xo^^^aaos rds Trrepvyas 7/ 5e ^aTTcpcb eirl rov ivavriov iirl riiiv nepiarepujv Stj .al ra fxeKri eSovaai p. Kal . (ppovrides .^ 152 Oxijrh. 2 go Apoll. 17 May. . f. 16. ori 6 deTos iTnKadr]jxivos tu. : . : .d/JLeL7TT0V. 1 rh Bek. . al ixeXeZSjvai. 1. 213 Alokels aruKayfxov Tr\v obvvrjv Kiyouaiv ^aircpu:- KaT e/iov cFTekey/iov'^ drrocrTd^uJUi yjip ua. tov Aios (TKrjTTTpcj) Kal KaTaKr]\ovfxevos Ta7s /xovcriKals cfbaTs ets vttvov KardyeTai. Miller Vet. OV vixixiv KaXaia AloXels- <to> v/jl/jllv voi]fia tco/jlov Bt. | . . eywEe/x' [. Pron. 194 . Ta TTTepa . Pind. irap o teiorL /lev eyevTO Ov/jlo^.

: And as for them their heart grows light and they slacken the labour of their pinions.SAPPHO 14 Apollonius Fronouns: Tlie form Aeolic compare . my : ^ ^^hen they reach ihe 22 avaaTa\v<^oi and Hesych. 10 . (TTeXvyjiov E. . compare Sappho because of wounds ci. ixeXedwvai cares : the tlioughts aiid the Aeolic writers call ' : ' . 3 ^ .M. . Sappho on the contrary says of the doves : . 3 ?] })ain . ' . Tow. aaTvXd^fi o 2 (sic) and . 51. ones ])retty . cf.'^ 17 Ohl Eti/niologlcuni Magnum which devour the hndjs pain (TTaXayuos a dripping ' . to 3'ou ' and me. for the}' [pains or 1 cf. . letting both his wings He slack. . . nest? Apoll. 1. . ' vixixlv is used in : niine can : conscious of this : .irds you never change. drip and flow.576. Pnm. as for I am mind of tliis Froni a Second-Centiiry Papyrus . 16 Scholiast on Pindar He has given a complete picture of the eagle sitting on Zeus's sceptre and hdled to sleep b}' the niusic. 80. . .E.

llT-t Ka\ ZiacpepovoL yap al AvbiKaX fia(pai- . 'S. . 23 Ae-'. E. Rh. ware afxapTavei 5' tov Xeyovaa- apTicos ^aTrcpu} eTrl dpTi fxkv a-rrripTicrixevov d y^pvaoTre^CKXo<i avco^ 'A/0Tt(jL>9 fi <rfk9e fcal> ^ . eireTevve. Avhi- ov KoXov epyov. ydp ecTTL TT. eViTTAa^oj^Tes : avoa. 38 Et. 121 i-rreTewe E. 12 mss Sch. a^ari t£) iTripp7]fJ. ^ mss Seid niss /xev a ^A0e k.aiTcpu}- TToSa? he TTOLKtXo^. dia(p. 20 Sch.] Mcg. 335. Ka\ eaTi Tvapa t^ ^arrcpiKuv 7ravToBd7raL<^ /jLe/netyfjLe- va ^potaLatv ^ Hdn. 7-7 ipevdr)eaaa Se avTt toC Trvppd."^ 21 Sch. : : : 196 . . uaviai) E ^ /*' a only in Hdn. hv ifxol ha\ /xeX. Eur. . 936 fxdadKris but cf. 1.aTos. virepvQpos. e'«:aAu7rTe. avTi <CToi)> xpoi^iKov eiTLppr]u. . Ar. /jbdaXij^. Poll. cf.:: LYRA GRAECA 18 Mag. Kal apTiws Siacpepei. Heph.air(pu>' Tov 8' 67ri7rXd^ovT avoac Kal /leXeowvai.a. Pac. Ap. xpovLKhv epyov reAeiws. : Hdn.i — avoiai (for pl.^ (f)epoL€V 19 Amm. Bacch. [Theocr. cf. To yap ra yap Zvo aa iTrnr\-fi<T<rci) eTTiTrAa^a)- eis ^ rpk-KOvaiv ol AloXe^is' '2. eZTre (bolh from corruption eTre) mss dve/xoL. cf.

^ cf. sing. an adverb of time. Lydian work. whereas apTLCL-s is used of that fully completed so Sappho is wrong in saying is is . Poll. fair 21 Schohast on Apollonius of Rhodes Argonautica: ipevdr]€(jaa [epithet of Jason's mantle] is used instead of irvppd. 9. 'ruddy. as for and cares ?] may frenzies seize 19 Ammonius for &pTi which JVords which Differ'. "Apn differs from dpT/^GJs. . saj^s For the Lydian dyes : : and a motley gown (?). virepvdpos. 19 Lentz of sandal. : The golden-slippered Dawn had me [wlien] .3. iSappho And him who blames [me upon him. . but manner of ^ the colours cf. and ' who dyes ' says are 197 . was a mingled with 2. Hdn. 20 2 SchoHast on Aristophanes Peace diflPer .: SAPPHO 181 Magnum Etiiniologicum s to z'y double : For the Aeolic writers change compare iirnrXriaa-w eVtTrAa^w they write . 7. sort atjainst this it all 929. and Sappho .' and is contrary to Sappho's description : . just [come] upon . . . . instcad of the adverb of time. . . . a reached down to [her] feet.

. unde etiam iSapphicum nuncupatur monoschematistum.i24)A 7] </jLdWov> / > TLV V- aKKov avOpcoTTcov efjiedev cf^lXrjada ^ .. 1 538 .lo\€is TTodijci) . probably not a variant of 2. ^pv(T6(f)ave<.. cuae^. Gr." I Mar. Kal fidofjLai cts E>KdTr}v 24 . cf. 6. 82. 42 Gomperz [SaTrJ^cb Xpycocpari dep[dTraiv^av 'A^poSiT^Tjs] [eJuai Keyei). 2. oj olov t[V 8e 0eoj/] FeKaTa Oepairva . TOV Aocoviv. 45 Kai ol h.. 516 Keil [de dacUdico metro]: Adonium dimetrum dactylicum catalecticum a Sappho inventum est. Plot. J98 B Qepiirv/] ^ for a in voc. ^ r^' F- . Oi 26 ApoU. Gram. -rrodew irodri^j}. . semper enim dactj^lo et spondeo percutitur .LYRA GRAECA 09 Apoll. e.. IxiiKKov Hesych. 23 Bt. Hfm.. Jjial. TT. Pron. . 66. Philod. (j. Mag. A(f)poSiTa<. Pron. Art.. 485. t^s ol^^ : AioAers crvv (paiveTal Fol kyjvo'^^ ^ cf. 3 e/xe^ej/- ttukvws ai ypTJcreis irapa AloXevcriv . 16 [tt.

. : . 40 199 . . for it is alwajs composed of a dactyl and a spondee compare : Woe Adonis for ! 26 ApoUonius the form with Proiiouiis [on ol digamma That man seems 1 * to hinx*]: Aeolic writers use iv) to himself . 25 Marius Plotius AH 0/ Grammar [on the Dactyhc Metre] The dactyUc Adonian dimeter catalectic was invented by Sappho. : : : SAPPHO 22 Apollonius Pronouns eixedev of me it occurs frequently in the Aeolic writers. . Gud. . . To Hecate Philodemus Piefy And Sappho : calls the Goddess (Hecate) Aphrodite's golden-shining handmaid . . and that is why it is also called the inonoschematist Sapphic. than . . conipare (124) and ' : ' . Magnum AeoHc writers use Tlie : 'I long. . . 294. O whom in all the world do you love better me ? 231 Etymologiciim irod-nw for irodfw .' as and I 24 long and I yearn .: . . . and . also iu Et.

5 ctftjue OTTTaC^ kloK^lsafl/ji€ 28 Max.' TrpoTToSas fTTTTiv. prob. TTepL-KTV^OOjXaL. I 30 Philostr.\€L /j. 2. 100. toj/ vuevaiov fieiKLxo(p'jovoTepai. 'Xaircpw livdoirXofcov. €is (Xe. irapOevotat g fieXXi^^o^fxJOvai^. found the more easily corruptible fxeKKixo(p.~ -pSov tovto al Stj to r. ^ I ^ E : his ^ E ^ so mss -(pdivoi perh.g. Trrjxeis I7/1. ws (pT]atu t] 2a7r<^aj. imitated b}. 'iva avTOvs Uv tu)V v/jLfT^pcov opwv TOVS ro /ieATj^a tovjjlov. iu : copy of 200 Phil. oTi 6a. 1 ToaovTov afjnKKwviaL «at eAi/cwTrtSes Kal KaKKLirdp-poL Kal TOVTo Stj t5 ^Si. e.cvKpaTrjs ao(pi(rTr]v \eyei. Tyr. TrepTTTvyo) ^ . a.Bion 1. T6. 29 Jlll.iro6vrjaKei Se airopav tovto 2a7r<^w (TvWa^oicra elire yXvKviriKpov (81) Ka\ aXyeaiScopov Tuv^^EpaTa 'S. 10 fjLOvaLKuiTepaL '2. . 18 dAA.LYRA GRAECA 27 Apoll.aTr(povs twv Tvapdevoov Ka\ {al irapdevoL) poSo- 'Xair<povs ij. Pron. irpoa^pdeyfxa. 44 Ar. irpo rfjs TracrTaSos Aristaen.€v "Epws evTTopwv. E'p. 9 AioTifxa Keyei. 24(18). W9 e. . .eKi(p(t}VOi. iieXrjfia Tojfjiov. 1.8LaTov (pOeyua.

rose-anned." . Sappho . . called him bitter-sweet (81) and of giver of pain. : SAPPHO 27 ApoUonius Pronouns compare .ss ' g. . in Mhose prob. m. Init my I should fly to the beloved^ sajs. imitating Phil.ij. ^j. honej^-voiced (?) this is Sappho's delightful epithet. Book. 29 Julian Lciter (o Eurienius very foot of your mountains to as Sappho : . .. fair-cheeked. .e. in her first ' "AiJ. .^ Soorates calls love sophistical. 4*2 . /. embrace you^ . a mistake 20I . Aristaenetus Lcttcrs : Before the bride-chamber rang out the wedding-song from such of the maidens <ts were the more musical and gentle-voiced^ this is Sappho's most delightful — — word. saucy-eyed. 2 honey-voiced to gentle-voiced ' is maidens js prob. : us or "' " vou burn . e. Sappho. 28 Maximus Tyre Dissertations : Diotima says (in Plato's Symposiiivi) that Love flourishes when he has plenty and dies when he is in want. putting these characteristics together.. ^ cf. is used in Aeolic . 30 Philostratus Pictures : The maidens so vied with one another.•. me me. Sappho a \veaver of tales.

. .p <?. Hes. 'S. .• acTfxa. 13. Aetr/Sia TroAAa re /cal oux OyUoAoyoCvTa aWriXois es '2. Theocr. Klftssikertextc 5 P ")(>06 ]^e Ov/Jiov ]/Ltt I Trd/xTrav Bvvdfjiai i ]a? Kev T) fioi ]? dvTLkdfJLirrfv 202 rietfla.a'ir(pu) vlov . [€t's Sch. r77s> ^ Ka\ Ovpivov. . e. 26 [iratSl l^. Op. ^iXTaTOv 32 Him. 'fl yevo^ 6e\^Lfji/3poTOV Acf)poSLTa<. /.(pL$aWei tIvos eiTTTj Thv "EpcnTa. e. 9 Eo-Trepov ets av a^TTTjp oluai AaTepoyv TrdvTCOv Sdir^ovs TovTo Stj to ets . '^aircpcb Se Tris Kal Oi>pdvov. Air oXK'. 2 'HcrtoSoi/ Se ol5o ypd\pavra ws Xdos TTpwTov. e. 9.LYRA GRAFXA 31 EpwTa ets Sch. Sch. 27. 'A(ppo5LTr)s . Or. 2 [^rivi tovto 6ewv iroKa TeKVOV eyevTo]' fiev 'A^poSiTTjs aiJ. Rh. . ij. Kvirpi^os]Tou^Epwra y€vea\oye7.aiTcpw 5e r. 'EpcoTa pae. Paus.ovlos 3. . 6 /cd\tcrTO^~ "Eairepov 33 ' ^Oppdvw Te Vaia<^ yevo^ nct^oi] IleifliwJ" 2a7r(^a> 5e' «^rjCi tV A(ppo5iTT]s QvyaTepa. . 73 [iroTVLa tls e^nrepios. 13. 34 Berl.'Halodos /JLev yi.g. Ap. enl Se avTc2 Tt] t€ Ka\ TapTapos Ka\ ''Epcos yevoLTO.

. g..... B : . can a Seventh-Century Manuscript . shall J 1 W\.: SAPPHO To LovE 31 Scholiast on Apollonius of Rhodes Argonautica 3. and Sappho. of Aphrodite or of Earth and Scholiast on Theocritus He sprung']: is Hesiod Heaven. : e. Fairest of as Sappho says in her all Ode the stars that shine. [if] shine back 17 mss Ka\i<TTos 203 .. but : Sappho Earth and Heaven.. - . of 13. altogether be to cf. [To Persuasion] 33 Scholiast on Hesiod WorJcs and Doi/s: ['queenly Persuasion '] Sappho calls Persuasion the daughter of Aplirudite. . 2 ['from what God soever doubtful of whom to call Love the son. Dearest Offspring of Earth and Heaven 32 To Hesperus ^ Himerius Declamations : You must be as it were an evening star.. . . Pausanias Description of Greere Hesiod I know has made Chaos the lirst creation. Him.. . and then Earth and Tartarus and Love.. to Hesperus. for . me 3. 26 [' her son 'J ApoUoniiis niakes Love the son of Aphrodite. I .. g. And iu the poems of Sappho the Lesbian there are many mntually inconsistent sayings about Love. lieart . : e. Man-beguihng daughter of Aphrodite 34 From ..

e^y^^^poLcrOeL^i ]'[• 35 BerL EXassiTcerUxte 5 [Trpos P -iVo? Xapa^ov] ^006 verso + Oj:yrh. iaTdKiqs ^ restored by Blass. cf. %0/Va iraL-] [Bcov] hLaKTJTaL' 10 [dX. C. 204 . 15 " av 8' oi]v \w6vcov TL6]y] drepai^ <ppeva<i' fjLe[p. \viT7]<^ re /^[e aol yeveaOai] 5 [^al? e]fi oveiho'^. opvl^. ireh'' avSpcov] K^ciXwv KcicrXcov.. eTrl tcl[vt [Kap^Ljav \tw>]ijlov to cicraLO' ovk ovtcd apecrKeo] '^/ap y^orjixa] /jL[a\dKco<. fidKa[pa(. €19 lSs7]pr]'LSa<. e[ve7reL<.B. olco] dvTeTeOy]]fjL€v [Saicp. 424 * ~\hci)<T7]V. 1909.e. B. 8e '^^aiprjv] [roh (pi]'\oL<. P(L2').]^ 2G Ox. Lobel ' i. Paj).i]\ccfv] €v[ko\ov ydp] [vQ)v Tpd(f)0La]a toI<.Xa] hoa^e' [yepovTa<. 7 [^pvaLaL] ^ l>lripi]Lh€<^.] ^ identification due to E. and /i'. 1921 * epithet uncertain Kvirpi Kal is too long . ad(p^ olB' e-] [fioi 7rapeovTa<.LYRA GRAECA Ka]\ov ] irpocrcoTTOv ..9 [K KaK6TaTo[<^.] avvi7]/jL[^ eyco ae] fi-q [ovK dyprj /S/)o]%i9- [61 irplv eV7ro]\?. d^\d^7][v fLOi] [tOV KaaL]yV7]T0V h6T€ TUtS' LK€aOa[l. . [at K\ur(jL)V fiev r eirliroTeai \^Kcov [jjrop] olhi]crai^. Bueclieler.

at such things as For as for me. a letter to her erring brother Charaxus ^ prob. my mind is not so softly disposed to the anger of a child. and bid your friends go their ways. 35 From the ^ [To Charaxus] reverse of the same Mauuscript and a Third- Century Papjrus If you hover about the notable good and noble. grant me I pray my brother's safe return. being of a gentle disposition my for well I I know that have the Gods on side.SAPPHO fair grained en- face . . . will give. Be you better advised rejoice your heart. . 36 ^ To THE NereTds From a Third-Century Papyrus Golden Nereids. . reproach to you. and that the true desires of his heart : ^ prob. rather than the your swelling pride that am become a these you may forsooth^ 1. and chanffe vour heart . But make no mistake in this the snare never catches the old bird I know what was the depth of your knavery before^ and of what sort is the foe I am opposed to. then. Feed your fiU. and grieve me by saying in . a complete letter to the sanie (handed to him on his return from Egypt ?) asking reconciUation 20s .

kvvv[' €]pe[/uL]va. cf. and rejeets ]A. 4. iopavos for oppavos /c. irdvra \vaa[i. . 76.A. Eq. 63. . Pap. (a) KvirpL.Jurenka. ^ replacement of fibre now makes de\oi ^ or K&aa ^ieji/ ^ I3ell now admits ]s as poss.Set9. x^paj' ' restored by Blass. [ravra re]\ia07]V' 5 [oaaa Se ^ 7rp]6a6^ cifji^poTe. certain ^ E. . 1231. for kvv-lo.] oroLai irdpoLd dyevwv [dfifiov eSd^/xva elaatwv t6 k ev y^pch [Keppev^ dX]X' eV dy\ai\a Tro\iTav [d^^d\tiv a]XXa)?. above cf. Kai ae iTL[KpoTep]av eirevpe' 10 ol Se * Kav^daavTo t65' eVz^e^TrorTe?*] Acopix^^ To hevTepov cu9 7ro6e[vvov] [eU] epov rje. C. . d^LOL]aL [ev \ex€aa' e]xw^ o"^ [^e].[ev]a KaKdv[dr)v] ^' [plva 20 [ciWa 7reSdyp]r]. 249. Kvvva Hesych. C. at K[e deXrj. [rav Kaaiy^vijTav Be Oekoi iTor]a6a[i] 10 [efJLpiopov] TtyLta?' " oviav Be \vypav [Kal yoL(. * or a^iaKTL eu KOpais e'vpt]v Ar. Eg. Arch.Q. Wil. Bell agrees kuv[ is poss. Smyth.. ® [7rpo9 Xapa^ov] 1. '09. '20. Journ.") and for single v in P.t.'' 7r/3o? yda] dejj. LYRA GRAECA [xa fiev] <p Ov/jLO) kg OeXij yeveadac. . [oVa] vi) Ke Savr ov[ktjp 6veLBo]<. * for flattened accent cf. Diels. : E 2o6 .. 15 [Sev Sia /jia^Kpay [Kal avvdop]oi'.'' 37 Ox. Bell ibid.Ii. i.] [Ka\ <j}i\oi]at Folai y^dpav yeveadai [Kal Svav e])(Opoiar yevoLTo 8' a/xyu-t [BvaKXea /A]?.

'21. . second time and he found thee more love-match ' beloved by 8. [&iJL]fipor€ (5): « 1-8 fragmentarv. ^ .SAPPHO be acconiplished. a Second-Centuiy Papyrus O Cypris. thou black thou mayst set that return and baleful snout to the evil ground and go a-hunting other prey. — O^ when may he to cast choose amid his them clean away. . and 2 if i heart. and worthy slie-dog.2 . fellow-townsmen's mirth and to have a niate. And a . 149 88 Lobel C. 37 From . honour j)iitting tlie and be dis- lioiise be willing to bring and the sore })ain resentment of a taunt that must have cut to the quick.Q. and shall he errors become shall enemies a grief to his to his sister words wherewitli. bitter in away former his a deli<j^ht to his friends And may he graced of no man. : the others^ they boasted loud and said delightful ^ [To Charaxus] welcome? '^ or find a mate .'s hath Doricha bitter. among Doricha or Rhodopis a famous courtesati brolher Charaxus in Kgypt see p. he sought ere he departed to overwhelm my he does on some near day. . and . he desire one^ in wedlock due as for thee. and niay our . VVhat ' : made this ^ I at a feast of worthy maids '21. 164 fidKaipa (1). containing 9-10 Wil. 11-12 Hunt" 207 .

Rackham. Tpota<^ oXeaae. 125 2o8 by Hunt. 10 [KcovBe TTaJtSo? ovBe (piXcov TOKfjcov [/jidWov^ epbvdaOr). C. 5 irar^yy 8 evfJLape^. aud 2 p T.R. FavaKTopi[a.vaL- [a' ov] 7Tap€0iaai<. 1919.. 1231. tv] p. Wil. Pap.' [ev e. .^ [Ta]9 K6 ^oXXoi/Jiav epaTov t€ ^dfia Ka/jidpvy/ia XdfjLTTpov lStjv TTpoacoTTco T) Ta Avh(ov dp/iaTa Kav OTTXoiai 20 [7T€aBo/i\d')(^6VTa<. avverrov TTOTjcraL d ydp ttoXv TrepcTKOTTeiaa KaWo<^ dvOpcoTTCov EXeVa tov dvhpa [Kpivve KdXjiaTOv TrdvTt TOVT- [6? To TTav^ ae/3a<. fj. O^ 1. KaXiaTov eyco Se ki)v ot- epaTai. AvaKTopLuv Trpos (/3) fiev liTm](ov cFTpoTov ol Se TreaScov ol he vdcov (^ala^ iirl '^jav iiMKaivav eixfxevai T(o TL<.] restored 73.ap^oi(ras E cf. /Jiev iS]/iev ov hvvaTov yeveaOai [XwaT] ov dv6 p(OTT0L<i' dpaaOat TTeSex^jv 3' [t(ov TTeSy/^^ov eaTL /SpoTOiaL Xu)ov] [rj 1 XeXdOeadaL. ^ i. [TTrjXe (j^iXec^aav ['0/30?' dXXd Trapayay avTav ^ evK]afj.LYRA GRAECA 38 Ir. 1914.e/j.7TT0v ydp [del to dijXv] [ai Ke\ Ti? Kovcf)co<^ t[o Trdpov v^orjaT]15 [ayu-JyLte vvv.

8(j ^ ref. much the world some say all some again of foot. but was led astray bv Love to bestoNV her heart afar woman ever easy to be bent is Hghtly of Avhat is near and dear. • 209 VOL.S. and 'tis this thing in : is a a navy of ships. [in forget it. to the old friendship between her and S. understood by any. when See to you remember us Anactoria^ now that we from one of whom I slie it ^ . all know I cannot have the best the chariots and armoured . she chose for niost beautiful the destroyer of much not so the honour of Troy^ and thought all either of child or parent dear. cf. P . for thinks then that are parted would rather the sweet sound of her footfall and the sight of the brightness of her beaming face than footmen of Lydia.SAPPHO To Anactoria ^ 38 From a Second-Century Papyrus The fairest liost me the liearts beloved. atid Atthis ? with a soldier husl^and to Lydia.] ^ man yet to wish that one had a what was once share that in this world sliared is better than to ^ a complete letter to Anactoria mHo has apparently gone . biit to And 'tis make easy to Though Helen surveyed mortal beauty. 1.

. TroTVLa.LYRA GRAECA 39 Ox. A. ii (a) .] aa '^([apUaaa p. (j.\ [TToXXa T aetS/.] [w9 Te vda<. L/jb/jL^epoevTa TralSa. . Tav dpuTav Arp^eiSa^ FlSov /cA-t)-] TOi ySacrtA. 1. and 123 189 above (p. 1-10 restored by Wil. dyva Ka\ /ca[\ ev y\. 2. Xiaao/iai ae\ KaT To Trd^poiOev] e. rjTTL Fap. T 6^ aSofOJTO).z^'.P. WTpeiSat avv v/i/xl\ '\[iw. ttoXX' eSiSa^^ e6pTaL<. at? '^(^opevrjv^ 15 [a]/z(^l a^alat. cf. 2IO ^ [dp(oyov.^? 5 eKTe\eaaavT€<. Pitp. Ke\o/jLaL ae Kd/ioL\ €/i/jL6v[aL TT/oo? oIkov dinJTrXe^iaa.?. 1231. .6p(f)a. . 40 1 [ds "Rpav] ()3) HXdaLov Kar ovap irapeirj. E: 11-20 by Ee. 174) : 9. irpiv ae Kal Al dvT^idaai fjueyLaTOv] 10 Kal @u(ova<. ilal.\ g.] vvv Se K[dyco. H]/?' dpav 20 ^ cf.vTL\avdaLai\ [iT\apO[evoL<^ /le Spdv TrdXcv. (lella Soc. [T/^oia? oXe^/3oi/]* irpMTa fxev ira^p^ (h/cvpoa) ^Ka/jidvSpco] eV TUtS' d7Topfidde[vT6'^ olkov 1'ki]v] ovK eSvvavTo.\ B)] /ji[oc iTOTVi 'H/?a.

whom I have so often tauglit to dance and to sing upon again. g. things pure and even as Atreus' seed by grace of thee and thy fellow-Gods did put tliy feast-days . O to thee child. were win home^ but ere that make prayer to fjiin mighty Zeus and to Thyone's lovely e. . ^ the latter half is very tentatively restored on the supposition that S. that of thy grace I and to So now may do and beautiful among tlie maids of Mytilene. so Hera. iinexpectedly. 40 From the Make tlie : [To Hera] Same and another staiid beside of the Third Centurj- in a dream. writes this before emharking to return to Mytilene fron) Syracuse ou hearing of the amnesty 2T P _' l . as of old. aid tliou now I beseech thee.^ Lady.\ \ : SAPPHO 39 From Papyrus a . gentle this homeward voyage of mine. . out then from Ilium. when they put forth hither from Scamander's prayer of the famous kings of Atreus' seed they At liad first swift flood.Secoiul-Ceulur

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